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THE  NATIONAL  GALLERY  OF  ART 


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SMITHSONIAN  INSTITUTION 


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UNITED  STATES  NATIONAL  MUSEUM 

Bulletin  70 


THE  NATIONAL  GALLERY  OF  ART 

DEPARTMENT  OF  FINE  ARTS 
OF  THE  NATIONAL  MUSEUM 


By 

RICHARD  RATHBUN 

Assistant  Secretary  of  the  Smithsonian  Institution,  in  Charge  of  the 
United  States  National  Museum 

( Reprint,  1916,  with  additions ) 


WASHINGTON 

GOVERNMENT  PRINTING  OFFICE 
1916 


BULLETIN  OF  THE  UNITED  STATES  NATIONAL  MUSEUM 
JULY  i,  1909 

(Reprint,  January,  1916,  with  additions) 

2 


THE  GETTY  CENT 


CONTENTS 

Page 

Preface  to  reprint  of  1916 7 

Introduction 9 

The  National  Institute,  1840-1862 25 

Annotated  list  of  art  objects  in  the  museum  of  the  National 

Institute 31 

The  Smithsonian  Institution  and  U.  S.  National  Museum 45 

Organization,  plans  and  building 45 

Narrative  history  of  the  art  collections  under  the  Smithsonian 

Institution 51 

The  National  Gallery  of  Art 87 

The  Harriet  Lane  Johnston  collection 88 

The  Charles  L.  Freer  collection 102 

The  William  T.  Evans  collection 119 

Contemporary  French  artists 152 

Other  permanent  acquisitions 158 

Loans  exhibited  in  1914-1915 170 


3 


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ILLUSTRATIONS 


Facing 

page 


A comer  of  the  picture  gallery  in  the  Museum  building,  1906,  before 
it  had  been  entirely  remodeled,  showing  a part  of  the  Harriet  Lane 


Johnston  collection.  Now  used  for  art  textiles 22 

George  P.  A.  Healy.  F.  P.  G.  Guizot,  1841 32 

George  P.  A.  Healy.  President  John  Tyler 34 

Painted  for  tlie  National  Institute,  1842. 

Original  floor  plans,  Smithsonian  building 48 


The  two  rooms  on  the  first  floor  marked  C were  those  originally  designed 
for  the  gallery  of  art.  The  western  end  of  the  second  floor  was  used  for  the 
collection  of  Indian  paintings  from  1858  to  1865.  Reproduced  from  “Hints 
on  Public  Architecture,  containing,  among  other  illustrations,  views  and 
plans  of  the  Smithsonian  Institution;  together  with  an  appendix  relative  to 
building  materials.  Prepared,  on  behalf  of  the  Building  Committee  of  the 
Smithsonian  Institution,  by  Robert  Dale  Owen,  Chairman  of  the  Commit- 
tee.” 1849.  This  volume,  of  quarto  size,  was  a special  publication,  not 
belonging  to  either  of  the  regular  Smithsonian  series. 


West  hall,  Smithsonian  building 50 

One  of  the  rooms  originally  designed  for  the  gallery  of  art,  but  used  until 
1866  for  the  library,  art  prints  and  busts.  Now  used  for  the  exhibition  of 
graphic  arts. 

West  range,  Smithsonian  building 52 

One  of  the  rooms  originally  designed  for  the  gallery  of  art.  Used  until 
1866  as  a reading  room  and  for  the  collection  of  paintings.  Now  used  for  the 
exhibition  of  graphic  arts. 

Print  room,  Smithsonian  building 74 

Furnished  in  1896. 

Harriet  Lane  Johnston 88 

From  a photograph  taken  in  Paris  in  1898. 

John  Hoppner.  Mrs.  Abington . . 92 

Harriet  Lane  Johnston  collection. 

Sir  Thomas  Lawrence.  Lady  Essex  as  Juliet 94 

Harriet  Lane  Johnston  collection. 

Bernardino  Luini.  Madonna  and  Child 96 

Harriet  Lane  Johnston  collection. 

Sir  Joshua  Reynolds.  Mrs.  Hammond 98 

Harriet  Lane  Johnston  collection. 

George  Romney.  Miss  Kirkpatrick 100 

Harriet  Lane  Johnston  collection. 

John  La  Farge.  Visit  of  Nicodemus  to  Christ . . r 120 

William  T.  Evans  collection. 

Frederick  Stuart  Church.  The  Black  Orchid 124 

WilUam  T.  Evans  collection. 


5 


6 THE  NATIONAL  GALLERY  OF  ART 


Facing 

page 


Winslow  Homer.  High  Cliff,  Coast  of  Maine 128 

William  T.  Evans  collection. 

William  Henry  Howe.  My  Day  at  Home 132 

William  T.  Evans  collection. 

George  Inness.  September  Afternoon 136 

William  T.  Evans  collection. 

Alphonse  Jongers.  William  T.  Evans 138 

William  T.  Evans  collection. 

William  Sergeant  Kendall.  An  Interlude 140 

William  T.  Evans  collection. 

Willard  Leroy  Metcalf.  A Family  of  Birches 142 

William  T.  Evans  collection. 

John  Francis  Murphy.  The  Path  to  the  Village 144 

William  T.  Evans  collection. 

Henry  Ward  Ranger.  Bradbury’s  Mill-Pond  No.  2 146 

William  T.  Evans  collection. 

Douglas  Volk.  The  Boy  with  the  Arrow 148 

William  T.  Evans  collection. 

Henry  Oliver  Walker.  Eros  et  Musa 150 

William  T.  Evans  collection. 

Adrien  Moreau.  Crossing  the  Ferry 166 

Gift  of  Mrs.  James  Lowndes. 


PREFACE  TO  REPRINT  OF  1916 

The  original  edition  of  this  bulletin,  published  in  1909,  having 
been  exhausted,  this  reprint  is  issued  to  meet  the  continued  de- 
mand for  information  regarding  the  National  Gallery  of  Art.  Ad- 
vantage has  been  taken  of  the  opportunity  to  incorporate  the  ad- 
ditions to  the  Gallery  during  the  intervening  period  and  to  make 
a few  corrections,  but  otherwise  the  volume  remains  unchanged. 

Although  the  growth  of  the  collection  has  depended  entirely  on 
gifts  and  bequests,  the  number  of  acquisitions  has  considerably 
more  than  doubled  within  this  time,  and  in  the  lines  of  contempo- 
rary American  painting  and  oriental  art  the  Gallery  has  attained 
a prominence  which  has  brought  world-wide  recognition.  For  this 
advancement  it  is  almost  wholly  indebted  to  the  generosity  of  Mr. 
Charles  E.  Freer,  of  Detroit,  Mich.,  and  Mr.  William  T.  Evans,  of 
New  York  City.  Of  European  art  the  Gallery  possesses  compara- 
tively few  examples,  though  recently  enriched  by  a collection  of 
drawings  in  various  mediums  by  82  of  the  most  eminent  of  con- 
temporary French  painters,  sculptors  and  engravers,  and  greatly 
aided  in  this  direction  by  extensive  loans.  The  Gallery  has  also 
gained  distinction  through  several  noteworthy  special  exhibitions. 

In  1909  the  paintings  then  assembled  were  installed  in  the  older 
Museum  building,  but  the  following  year  they  were  transferred 
to  the  recently  completed  natural  history  building,  where  the  cen- 
tral skylighted  part  of  the  great  north  hall  has  been  provisionally 
assigned  to  the  purposes  of  the  Gallery.  This  space,  146  feet  long 
and  48  feet  wide,  is  enclosed  with  a screen  wall,  13  feet  11  inches 
high,  adapted  to  the  hanging  of  pictures,  and  is  subdivided  by  par- 
titions of  the  same  height  and  construction  into  8 compartments. 
The  largest  of  these,  midway  of  the  general  enclosure,  measures  48 
by  36  feet.  Adjoining  on  either  side  are  two  rooms  of  uniform 
dimensions,  36  by  18  feet,  followed  at  the  south  by  a single  room, 
48  by  18  feet,  and  at  the  north  by  two  rooms,  each  17F2  by  14 A feet. 
Including  the  walls  of  the  corridor  separating  the  smaller  rooms 
on  one  side  from  those  on  the  other,  950  lineal  feet  of  surface  suita- 

7 


8 


THE  NATIONAL  GALLERY  OF  ART 


ble  for  the  installation  of  paintings  have  been  obtained.  Al- 
though ample  in  the  beginning,  these  accommodations  were  soon 
outgrown,  and  it  has  been  necessary  to  provide  for  the  overflow  in 
various  other  places,  the  few  pieces  of  sculpture  acquired  being 
displayed  in  the  north  lobby  and  the  rotunda.  The  importance 
of  giving  early  consideration  to  the  erection  of  a building  especially 
designed  for  the  National  Gallery  of  Art  is  thus  strongly  empha- 
sized, for  without  appropriate  and  adequate  facilities  for  promot- 
ing the  objects  with  which  it  has  been  entrusted,  further  progress 
and  the  encouragement  of  benefactions  will  be  difficult.  Most 
gratifying  is  the  recent  decision  of  the  donor  to  begin  the  construc- 
tion of  the  building  to  house  the  Freer  collection  as  soon  as  the 
plans  can  be  perfected. 

The  objects  enumerated  in  the  several  catalogues  beginning  on 
page  92  of  this  volume  are  such  only  as  have  been  specifically  re- 
ceived and  accepted  for  the  Gallery.  Articles  of  more  or  less 
esthetic  merit  are  also  to  be  found  in  other  branches  of  the  National 
Museum,  as  in  archeology,  ethnology,  history,  textiles,  ceramics 
and  religious  ceremonial. 

The  personnel  of  the  advisory  committee  for  the  Gallery,  named 
on  page  21,  remains  the  same  except  that  the  office  of  chairman, 
left  vacant  by  the  lamented  death  of  Francis  Davis  Millet,  is  now 
filled  by  Mr.  C.  Y.  Turner,  of  Washington  and  Baltimore. 


January,  1916 


INTRODUCTION 


As  far  back  as  sixty-three  years  ago  the  Congress  of  the 
United  States  directed  the  formation  of  a gallery  of  art  for  the 
nation,  and  even  at  a somewhat  earlier  date  it  gave  encourage- 
ment to  such  a project  by  granting  an  act  of  incorporation  to 
a private  society,  whose  collections  were  eventually  to  be  ceded 
to  the  United  States.  The  assembling  of  art  objects  under  the 
chartered  association  began  in  1840,  and  under  the  specific  pro- 
vision for  a gallery  in  1849.  The  two  collections  were  united 
in  1862,  since  which  time  the  subject  of  art  as  a museum  feature 
under  the  Government  has  continued  in  charge  of  the  Smith- 
sonian Institution,  in  accordance  with  the  terms  of  its  establish- 
ment in  1846. 

However  slow  may  have  been  its  progress  in  this  field,  how- 
ever lacking  in  esthetic  merit  the  majority  of  its  acquisitions, 
the  Institution  fulfilled  its  obligations  to  provide  a place  for  the 
art  collections  of  the  nation,  has  made  such  efforts  as  were 
possible  within  its  limited  means  and  opportunities  to  gather 
suitable  material,  and,  what  is  more  important,  has  kept  the 
subject  alive  in  the  expectation  of  ultimately  awakening  -an 
interest  that  would  justify  its  course  and  realize  the  intent  of 
Congress.  The  older  readers  of  the  annual  reports  of  the 
Institution  will  recall  the  prominence  given  to  art  in  the  plan 
of  organization  and  the  constant  reminder  of  the  existence  of 
an  art  department,  while  in  recent  years  the  public  has  found 
no  more  attractive  exhibits  in  the  Museum  halls  than  those 
embracing  the  graphic  arts,  ceramics,  metal  and  glass  work, 
lacquers  and  art  fabrics.  The  surprise  so  generally  expressed 
in  regard  to  a recent  court  decree,  affirming  the  existence  in 
connection  with  the  Institution  of  a gallery  of  art  entitled  to 
be  called  national  must,  therefore,  be  ascribed  to  the  fact  that 
the  collection  has  contained  but  few  worthy  paintings  and 
works  of  sculpture,  the  commonly  recognized  essentials  of  an 
establishment  of  that  character. 


9 


10 


THE  NATIONAL  GALLERY  OF  ART 


The  cultivation  of  art,  even  in  directions  promising  practical 
benefits  to  the  people,  has  never  received  encouragement  from 
the  national  Government  except  in  the  privilege  of  copyright 
and  patent.  The  erection  of  public  buildings  and  monuments, 
the  decoration  of  interiors,  the  portraiture  of  prominent  officials, 
and  the  designing  of  medals,  coins,  currency,  and  stamps  have 
furnished  essentially  the  only  opportunities  for  the  recognition 
of  artistic  talent,  while  on  the  other  hand,  the  active  part  taken 
by  the  Government  in  developing  the  material  resources  of  the 
country  has  caused  its  collections  in  natural  history  and  eth- 
nology to  grow  rapidly.  There  has,  therefore,  been  very  little 
of  art  in  the  ownership  of  the  Government  to  which  the  In- 
stitution could  claim  right  of  possession,  and  the  interests  of 
the  private  benefactor  have  been  directed  elsewhere.  Fortu- 
nately, popular  sentiment  is  now  developing  a broader  national 
spirit  whose  effect  has  already  been  manifested  in  such  a manner 
and  to  such  an  extent  as  practically  to  insure  the  assembling 
at  Washington  at  a time  not  far  distant  of  a public  collection 
of  the  fine  arts  worthy  of  the  country. 

To  the  professional  and  connoisseur  in  art  many  of  the  matters 
referred  to  in  this  article  may  appear  to  have  too  trivial  or  imma- 
terial a relationship  to  the  main  subject,  but  as  the  paper  has  been 
prepared  almost  wholly  for  a historical  purpose,  it  would  scarcely 
be  complete  or  satisfying  if  some  mention  were  not  made  of  the 
lesser  things  which  have  figured  in  the  prolonged  effort  to  carry 
out  the  law  of  Congress.  Other  galleries  of  art,  now  of  the  great- 
est prominence,  have  had  as  humble  beginnings,  even  if  their  pre- 
liminary history  does  not  show  so  many  years  of  almost  unen- 
couraged existence.  The  Regents  and  officers  of  the  Institution 
have  been  fully  cognizant  of  the  relative  art  value  of  the  objects 
which  have  at  any  time  been  classed  in  the  art  department,  and 
have  recognized  their  shoitcomings  from  the  point  of  view  of  the 
fine  arts.  The  department  of  the  arts  and  crafts  has  been  built 
up  without  reference  to  the  gallery  and  to  subserve  another  pur- 
pose, though  containing  many  choice  examples  of  esthetic  work- 
manship. The  limits  of  the  National  Gallery  of  Art,  under  its 
present  status  of  organization,  have  not  been  established,  and 
they  probably  never  can  be  with  definiteness.  It  is  the  present 
intention  to  confine  the  gallery  within  the  boundaries  of  the 


THE  NATIONAL  GALLERY  OF  ART 


11 


fine  arts,  and  particular  attention  is  being  given  to  paintings 
and  sculpture.  The  former  have  composed  most  of  the  recent 
donations,  and  it  is  this  class  of  objects  especially  which  has 
made  it  necessary  to  seek  new  and  appropriate  quarters.  A 
committee  representative  of  the  higher  art  associations  of  the 
country  has  been  designated  as  censors  of  the  gallery  and  it  is 
expected  through  their  cooperation  to  maintain  this  department 
on  a dignified  and  satisfactory  basis. 

For  the  initial  steps  toward  the  creation  of  a national  gallery 
of  art  credit  must  be  given  to  the  National  Institute,  whose 
name  is  now  scarcely  remembered,  though  its  short  life  was 
historically  important  and  its  activities  were  fruitful  in  both  a 
material  and  educational  way.  Organized  in  Washington  in 
1840  and  two  years  later  incorporated  by  Congress  for  a period 
of  twenty  years,  nominally  for  the  promotion  of  science,  it  estab- 
lished a department  of  literature  and  art,  and  accumulated  a 
museum  of  considerable  size,  located  in  the  Patent  Office  build- 
ing, in  which  the  collections  of  the  Government  made  prior 
to  1850  were  also  deposited.  Both  its  constitution  and  its 
charter  provided  that  upon  the  dissolution  of  the  society  its 
collections  should  become  the  property  of  the  United  States. 

While  the  number  of  art  objects  in  the  museum  of  the  Insti- 
tute was  not  great,  it  included  examples  of  the  work  of  several 
prominent  artists,  all  of  which,  with  the  exception  of  a few 
loans,  should  now  be  in  the  possession  of  the  National  Museum, 
but  the  location  of  some  of  them  remains  to  be  ascertained. 
Of  portraits  in  oil  there  were  seventeen,  including  Washington 
by  the  elder  Peale;  Guizot,  Tyler,  and  Preston  by  Healy;  Cap- 
tain Evans  by  Copley;  Washington,  Jefferson,  Adams,  and 
Monroe  by  Gilbert  Stuart;  one  of  Jackson  by  Sully  and  another 
by  R.  E.  W.  Earl,  and  Corwin  by  J.  M.  Stanley.  Among 
paintings  of  miscellaneous  subjects,  numbering  at  least  ten,  may 
be  mentioned:  Job  and  his  Comforters,  by  Spagnoletto;  Cattle 
Piece  with  Peasants,  by  Nicolas  Berghem;  General  Marion  giv- 
ing dinner  to  a British  Officer,  by  Eieut.  Henry  C.  Flagg,  U.  S. 
Navy;  a View  of  Constantinople  purchased  from  the  collection 
of  Cardinal  Fesch  in  Rome;  and  a figure  subject  of  Italian 
origin,  evidently  of  some  merit.  The  notable  collection  of 
Indian  portraits  and  scenes,  painted  for  the  Government  by 


12 


THE  NATIONAL  GALLERY  OF  ART 


Charles  B.  King  and  others,  had  been  deposited  with  the  Insti- 
tute by  the  Secretary  of  War  in  1841.  The  catalogues  also 
enumerate  about  thirty-five  busts,  models,  etc.,  a few  in  marble, 
the  remainder  in  plaster.  In  the  majority  of  cases  the  artists’ 
names  were,  unfortunately,  not  recorded,  but  there  were  a 
marble  head  of  Saint  Cecilia  by  Thorwaldsen,  a bust  of  Cuvier 
by  Louis  Parfait  Merlieux,  and  a number  of  pieces  by  Ferdi- 
nand Pettrich  and  Clark  Mills,  besides  several  antiques. 

Among  the  objects  of  the  Smithsonian  Institution,  as  defined 
by  the  act  of  establishment  by  Congress  in  1846,  was  the  forma- 
tion of  a museum,  a gallery  of  art  and  a library.  That  the 
museum,  including  the  gallery  of  art,  was  intended  to  be  com- 
prehensive in  scope  and  national  in  character  is  evident  from 
the  wording  of  the  law,  which  directed  the  erection  of  a building 
with  suitable  rooms  and  halls  for  the  reception  and  arrange- 
ment on  a liberal  scale,  among  other  things,  of  specimens  of 
natural  history  and  a gallery  of  art,  and  the  transfer  to  this 
building  of  all  objects  of  art,  of  foreign  and  curious  research 
and  of  natural  history,  belonging  to  the  United  States. 

The  Board  of  Regents,  holding  their  first  meeting  in  Septem- 
ber, 1846,  adopted  in  January  following  a general  programme 
of  operations,  in  which  four  main  branches  were  recognized  as 
appropriate  to  the  classification  of  the  museum,  namely,  natural 
history;  ethnology  and  archeology;  the  applied  arts  and 
sciences;  and  the  fine  arts. 

The  division  last  named  was  to  include  paintings,  sculpture, 
engravings  and  architectural  designs,  and  provide  studios  for 
artists.  Realizing  that  the  collection  of  paintings  and  sculp- 
ture would  accumulate  slowly,  it  was  proposed  to  assemble  loan 
collections  during  the  winter  season  while  Congress  was  in 
session,  and  for  the  furtherance  of  this  project  the  cooperation 
of  art  associations  was  to  be  solicited.  After  the  lapse  of  sixty 
years  it  is  impossible  to  conceive  of  a wiser  or  more  effective 
fundamental  scheme,  the  unification  under  one  administrative 
body  of  practically  all  the  functions  proper  to  the  museum  of  a 
great  nation,  thereby  forestalling  duplication,  overlapping  and 
the  waste  of  public  funds. 

The  Government  began  sending  out  surveying  expeditions 
early  in  the  last  century,  and  from  these  sources  much  material 


THE  NATIONAL  GALLERY  OF  ART 


13 


of  great  scientific  value  was  being  constantly  received  at  Wash- 
ington. By  1845  there  was  already  a large  accumulation  which 
was  cared  for  at  the  Patent  Office,  primarily  under  the  custody 
of  the  National  Institute  but  later  under  that  of  the  Commis- 
sioner of  Patents.  It  was  time  to  consider  the  founding  of  a 
national  museum,  and  the  bequest  of  Smithson  furnished  the 
opportunity.  Unfortunately,  it  was  the  supposition  of  Con- 
gress that  the  annual  interest  of  $30,000,  the  income  then  yielded 
by  the  Smithsonian  fund,  would  provide  for  the  accommodation 
and  maintenance  of  the  national  collections,  besides  covering 
the  expenses  of  all  other  objects  with  which  the  Institution  had 
been  charged.  This  error  was  subsequently  recognized  but  not 
wholly  corrected  until  after  the  expenditure  of  nearly  half  a 
million  dollars,  none  of  which  has  been  refunded  to  the  Institu- 
tion, in  the  erection  of  the  large  building  and  the  care  of  the 
Government  collections  during  a period  of  twenty  years. 

While  the  art  side  of  the  Museum  was  not  destined  to  prosper 
for  many  years,  it  is  interesting  to  note  that  the  first  collection 
purchased  from  the  Smithsonian  fund,  even  before  the  comple- 
tion of  the  building,  was  a large  series  of  engravings  and  etch- 
ings, the  finest  of  its  kind  which,  up  to  that  time,  had  been 
brought  to  this  country.  The  building  up  of  a gallery  of  the 
fine  arts  requires  considerable  means  for  purchasing  or  the  aid 
of  many  friends  as  benefactors,  and  the  museum  which  can 
count  on  both  is  indeed  fortunate.  The  Institution  has  received 
help  from  neither  source  except  to  a very  limited  extent.  Con- 
gress has  declined  to  appropriate  funds  for  such  a purpose,  and 
until  lately  individuals  generally  have  been  reluctant  to  con- 
tribute to  what  they  denominate  the  Government,  failing  to 
appreciate  that,  in  fact,  the  museum  belongs  to  the  nation. 
A better  understanding  of  the  situation  is  now  beginning  to 
prevail. 

The  Government  has,  however,  been  exceedingly  liberal  in 
the  development  of  the  natural  resources  of  the  country,  and 
before  the  establishment  of  the  Institution,  as  already  intimated, 
it  had  entered  upon  the  extensive  explorations  which  were  to 
aid  so  materially  in  the  opening  up  of  the  great  West.  While, 
therefore,  funds  were  not  supplied  for  the  increase  equally  of 
the  several  departments  of  the  museum,  opportunities  were 


14 


THE  NATIONAL  GALLERY  OF  ART 


afforded  for  making  rapid  progress  in  natural  history  and  eth- 
nology, which  were  utilized  to  the  fullest  extent.  The  remark- 
able advancement  in  these  directions  was  chiefly  due  to  the 
strong  personality  of  Spencer  Fullerton  Baird,  the  first  assistant 
secretary  of  the  Institution  in  charge  of  the  museum,  appointed 
in  1850,  who  was  not  only  pre-eminent  as  a naturalist  but  equally 
skilled  as  a collector  and  administrator.  Through  his  earnest 
and  persistent  efforts  Government  expeditions  usually  set  forth 
with  one  or  more  naturalists  on  the  staff  even  if  the  surgeon  of 
the  party  had  to  be  trained  for  that  duty,  and  advantage  was 
also  taken  of  many  private  enterprises.  Professor  Baird  him- 
self spent  much  time  in  the  field,  his  seacoast  investigations 
culminating  in  the  establishment  of  the  Fish  Commission,  or  as 
it  is  now  called,  the  Bureau  of  Fisheries.  Other  equally  humble 
beginnings  have  resulted  in  the  present  Geological  Survey,  the 
natural  history  bureaus  of  the  Department  of  Agriculture,  and 
the  Bureau  of  American  Ethnology  of  the  Smithsonian  Institu- 
tion, all  of  which  have  long  been  important  feeders  to  the  national 
collections.  That  under  these  conditions  the  National  Museum 
should  have  attained  a foremost  rank  in  the  field  of  natural  his- 
tory and  should  have  come  to  be  classed  almost  exclusively  as  a 
scientific  establishment  is,  therefore,  not  surprising. 

In  planning  the  Smithsonian  building,  the  Board  of  Regents 
accorded  to  the  gallery  of  art  its  proportionate  share  of  space, 
setting  aside  for  this  purpose  two  rooms  measuring  respectively 
66  by  34  and  60  by  37  feet.  If  the  light  was  improperly  ad- 
justed, it  was  the  fault  of  the  architect  and  not  of  the  Board, 
but  circumstances  dictated  that  these  quarters  should  not  long 
be  utilized  for  art.  That  the  Board  was  also  actuated  by  the 
spirit  as  well  as  by  the  letter  of  the  law,  was  manifested  by  the 
purchase  in  1849  of  the  Marsh  collection  of  prints.  A small 
characteristic  painting  by  Nicolas  Berghem  and  a marble  head 
by  Thorwaldsen  were  among  the  effects  of  Smithson  which  had 
been  sent  to  Washington,  and  it  was  destined  that  for  a number 
of  years  the  above  should  remain  the  only  objects  of  art  belong- 
ing to  the  Institution,  although  the  subject  of  art  was  constantly 
in  evidence. 

Less  than  four  months  after  the  passage  of  the  act  of  estab- 
lishment of  the  Institution  the  purchase  of  Catlin’s  “Indian 


THE  NATIONAL  GALLERY  OF  ART 


15 


Gallery”  was  proposed  both  to  the  Regents  and  to  Congress. 
Though  chiefly  of  ethnological  value,  it  had  been  exhibited  at 
art  galleries  in  London  and  at  the  Louvre  in  Paris,  and  its 
acquisition  for  the  Institution  was  petitioned  by  prominent 
American  artists.  A suggestion  made  in  1847  by  the  assistant 
secretary  in  charge  of  the  library  that  plaster  copies  of  some 
of  the  more  celebrated  works  of  the  plastic  arts  be  procured 
from  abroad,  met  with  favorable  consideration  and  preliminary 
arrangements  were  entered  into  for  carrying  it  into  effect.  A 
plan  for  receiving  designs  for  buildings,  of  which  such  as  were 
meritorious  would  be  placed  in  the  gallery  of  art,  was  also 
agreed  to  in  1850.  In  1852  the  J.  M.  Stanley  collection  of 
Indian  pictures  was  deposited  by  the  artist  in  the  Institution, 
where  it  continued  to  attract  much  attention  until  its  unfortu- 
nate destruction  by  fire  in  1865. 

The  completion  of  the  Smithsonian  building  in  1857,  followed 
by  the  fitting  up  of  certain  exhibition  halls  under  a special  act 
of  Congress,  made  it  possible  for  the  Institution  to  accept  the 
Government  collections  at  the  Patent  Office  in  the  succeeding 
year.  A proposition  to  take  over  the  property  of  the  National 
Institute  at  the  same  time  was  declined  by  that  society,  and 
during  the  four  years  which  intervened  before  it  came  into  the 
possession  of  the  Smithsonian  under  the  provisions  of  the  law, 
it  suffered  greatly  from  lack  of  care. 

Following  the  transfers,  the  distribution  of  the  art  collection 
was  about  as  follows:  The  prints  were  kept  with  the  library  in 
the  west  hall,  one  of  the  rooms  which  had  been  constructed  for 
the  gallery.  The  miscellaneous  paintings  were  hung  in  the 
adjoining  range,  also  designed  for  art  but  then  occupied  as  a 
reading  room.  The  Indian  portraits  and  scenes,  some  three 
hundred  in  number,  mainly  by  Stanley  and  King,  were  pro- 
vided for  in  the  western  end  of  the  large  upper  hall,  while  the 
examples  of  the  plastic  arts  were  exhibited  wherever  they  could 
be  best  accommodated.  Some  objects  were  also  cared  for  in 
the  Regents’  room  and  other  offices.  The  time  had  not  yet 
come  to  segregate  the  art  collection,  as  it  still  contained  too  few 
examples  of  esthetic  merit  to  dignify  it  with  the  title  of  a gallery, 
and  there  were  no  resources  with  which  to  take  advantage  of 
this  small  but  not  unworthy  nucleus. 

21394°— 16 2 


16 


THE  NATIONAL  GALLERY  OF  ART 


Up  to  this  period,  the  gallery  of  art  had,  in  an  abstract  sense, 
been  regarded  as  an  independent  branch  of  the  Institution,  but 
with  a vague  existence  and  disappointing  prospects.  Congress 
had  placed  upon  the  Institution  the  burden  of  building  up  a col- 
lection of  art  which  was  to  be  the  property  of  the  nation  and  to 
include  all  objects  pertaining  to  this  subject  which  the  Govern- 
ment then  or  later  might  have  in  its  possession.  The  Govern- 
ment, however,  has  never  had  much  to  contribute  nor  has  it 
ever  supplied  means  for  procuring  for  the  gallery  either  paintings 
or  works  of  sculpture.  Whatever  expenditures  were  made 
must,  therefore,  come  from  the  slender  income  of  the  Smith- 
sonian fund,  already  overcharged  with  the  expenses  of  other 
branches.  That  these  conditions  should  produce  a feeling  of 
discouragement,  even  of  helplessness,  was  only  natural.  Since, 
then,  the  Institution  was  not  in  a position  to  provide  directly 
for  this  feature,  the  gallery  of  art  was  made  a department  of 
the  museum,  to  which  it  properly  belonged  from  the  very  nature 
of  its  functions,  being  amenable  to  the  same  form  of  administra- 
tion. Its  maintenance  in  conjunction  with  the  other  depart- 
ments of  the  museum  also  insured  economy,  the  only  distinction 
needed  being  the  selection  of  a qualified  expert  to  have  charge. 

In  his  report  for  1864  Joseph  Henry,  the  first  Secretary,  pre- 
sented the  situation  as  follows:  “The  impropriety  of  expending 
the  income  of  the  bequest  in  attempting  to  form  a collection  of 
articles  in  this  line  worthy  of  the  country  has  had  no  prominent 
advocates  even  among  artists;  still,  in  connection  with  the  mu- 
seum, a collection  has  been  formed  which  principally  consists  of 
plaster  casts  of  distinguished  individuals,  and  a few  pictures 
which  have  either  been  presented  to  the  Institution  or  are  the 
property  of  the  Government.”  While  the  contention  of  Secre- 
tary Henry  was  entirely  justified,  it  should  be  said  that 
the  conditions  referred  to  in  the  last  clause  of  the  extract  were 
not  as  bad  as  his  remarks  imply.  The  distinction  between  the 
Institution  proper  and  the  Museum  was  often  explained  by 
Secretary  Henry,  but  nowhere  more  explicitly  than  in  the 
following  statement : 

“The  functions  of  the  Museum  and  of  the  Institution  are 
entirely  different.  The  object  of  the  former  is  the  establishment 
of  a collection  of  specimens  of  nature  and  of  art  which  shall 


THE  NATIONAL  GALLERY  OF  ART 


17 


exhibit  the  natural  resources  and  industry  of  the  country,  or 
present  at  one  view  the  materials  essential  to  a condition  of 
high  civilization  which  exists  in  the  different  States  of  the 
American  Union;  to  show  the  various  processes  of  manufacture 
which  have  been  adopted  by  us,  as  well  as  those  used  in  other 
countries;  in  short,  to  form  a great  educational  establishment, 
by  means  of  which  the  inhabitants  of  our  own  country  as  well 
as  those  of  foreign  lands  who  visit  our  shores  may  be  informed 
as  to  the  means  which  exist  in  the  United  States  for  the  enjoy- 
ment of  human  life  in  the  present  and  their  improvement  in 
the  future.  The  Smithsonian  Institution,  on  the  other  hand, 
does  not  offer  the  results  of  its  operations  to  the  physical  eye, 
but  presents  them  to  the  mind  in  the  form  of  new  discoveries, 
derived  from  new  investigations  and  an  extended  exchange  of 
new  ideas  with  all  parts  of  the  world.” 

At  the  beginning  of  1865  a disastrous  fire  burned  out  the  large 
upper  hall  and  the  main  towers  of  the  Smithsonian  building, 
destroying  the  collection  of  Indian  paintings  and  much  other 
art  mater1  al.  This  calamity  led  to  the  scattering  for  over 
thirty  years  of  most  of  what  remained,  a part  of  the  collection, 
mainly  prints,  being  deposited  in  the  Library  of  Congress  and 
a part  in  the  Corcoran  Gallery  of  Art. 

The  next  step  in  the  development  of  the  art  side  of  the  Museum 
was  the  organization  of  the  division  of  arts  and  crafts,  the  im- 
portance of  which  was  pointed  out  in  the  early  programme  of 
the  Board  of  Regents.  The  opportunity  was  afforded  by  the 
Centennial  Exhibition  of  1876,  at  which  the  National  Museum 
was  so  conspicuously  represented  as  to  attract  wide  attention, 
and  become  the  recipient  of  contributions  from  both  foreign 
and  domestic  exhibitors  to  the  extent  of  a hundred  carloads,  in 
which  the  subjects  above  mentioned  figured  extensively.  The 
character  and  value  of  this  large  addition  led  Congress  to 
authorize  the  erection  of  the  Museum  building,  which  has  been 
occupied  since  1881.  This  structure,  however,  proved  inade- 
quate for  even  the  immediate  needs  of  the  collections,  and  it  soon 
became  necessary  to  transfer  to  storage  a large  proportion  of 
the  material  from  Philadelphia.  The  objects  relating  to  several 
subjects  were  retained  on  display  and  these  exhibits  have  since 
been  increased  to  a greater  or  less  extent.  Although  mainly 


18 


THE  NATIONAL  GALLERY  OF  ART 


segregated  according  to  their  classification,  a considerable  part 
of  the  specimens  will  be  found  distributed  among  the  collections 
of  history  and  ethnology. 

In  1896  most  of  the  objects  of  art  which  had  been  deposited 
in  the  Corcoran  Gallery  and  the  Library  of  Congress  were 
recalled  to  the  Institution,  in  the  hope  of  renewing  interest  in 
the  subject,  and,  although  the  purpose  in  view  was  not  imme- 
diately realized,  the  change  proved  effective  in  subsequent 
results.  The  western  hall  of  the  Smithsonian  building  had  just 
previously  been  renovated  and  its  fireproofing  perfected  in 
anticipation  of  its  being  required  for  art  collections  as  originally 
intended,  and  in  the  year  named  a large  room  in  the  eastern 
wing  of  the  same  building  was  fitted  up  for  the  prints  and  art 
library.  During  the  period  from  the  time  of  the  fire  until  the 
beginning  of  the  present  century  many  examples  of  the  plastic 
arts  and  a few  paintings  were  received  by  the  Institution  and 
Museum,  principally  as  gifts,  proving  that  there  still  existed  a 
knowledge  of  the  association  of  art  with  the  Institution  in 
at  least  some  quarters. 

This  account  now  reaches  the  present  stage  in  the  history  of 
the  art  department.  It  has  been  seen  that  Congress  directed 
the  establishment  of  a museum  and  a gallery  of  art,  whose 
administration  was  combined  by  the  Board  of  Regents.  Their 
function  was  to  preserve,  classify,  and  exhibit  the  national  col- 
lections. The  accumulation  in  quantity  and  variety  of  speci- 
mens of  natural  history  and  ethnology  was  rendered  possible 
through  the  explorations  and  investigations  authorized  by  Con- 
gress mainly  for  practical  purposes.  Art  in  its  higher  sense  was 
neither  helped  nor  encouraged,  and  whatever  was  acquired 
came  from  miscellaneous  sources  and  was  mostly  inferior  in 
character.  Neither  the  museum  nor  the  gallery  was  given  a 
definite  title  in  the  fundamental  act,  but  both  were  designated 
as  custodians  of  property  belonging  to  the  nation.  The  name 
“National  Museum,”  although  frequently  employed  in  the 
earlier  Smithsonian  reports,  was  not  adopted  by  Congress  until 
1875,  by  which  time  the  collections  had  become  sufficiently 
large  to  justify  its  use.  The  art  department,  however,  never 
attained  to  a size  and  character  that  would  have  entitled  it  to 
be  called  by  so  exalted  a title.  It  was  often  referred  to  as  the 


THE  NATIONAL  GALLERY  OF  ART 


19 


gallery  of  art,  but,  leaving  out  the  engravings  and  etchings, 
the  greater  proportion  of  its  contents  was  mainly  valuable 
ethnologically  and  historically.  By  the  terms  of  the  act  the 
Institution  was  legally  empowered  to  take  possession  of  the 
paintings  and  works  of  sculpture  in  every  public  building  in 
Washington.  It  might  be  claimed  that  the  Institution  has 
been  derelict  in  its  duty  in  not  seeking  to  carry  out  this  provi- 
sion, but  as  a matter  of  fact  the  examples  of  art  in  the  several 
buildings  have,  as  a rule,  been  especially  executed  for  them, 
and  there  has  been  no  general  or  miscellaneous  collection  on 
which  to  draw. 

Mrs.  Harriet  Lane  Johnston,  niece  of  President  Buchanan  and 
mistress  of  the  White  House  during  his  term  of  office,  assembled 
at  her  home  in  Washington  a small  collection  mainly  of  paint- 
ings, including  examples  of  the  work  of  several  distinguished 
masters,  which,  upon  her  decease  in  1903,  it  was  found  had  been 
bequeathed  to  the  National  Gallery  of  Art  when  one  should  be 
established  by  the  Government.  In  ignorance  of  the  fact  that 
the  necessary  means  for  carrying  out  her  wishes  were  already 
in  existence,  Mrs.  Johnston  named  a temporary  custodian  but 
under  conditions  that  were  not  acceptable.  In  a friendly  suit 
which  followed  to  settle  some  doubtful  clauses  in  the  testament, 
it  was  decreed  by  the  Supreme  Court  of  the  District  of  Columbia 
that  the  collection  of  art  contemplated  in  the  act  of  establish- 
ment of  the  Smithsonian  Institution  was  within  the  meaning 
and  intent  of  the  law  the  National  Gallery  of  Art,  and  the  collec- 
tion of  Harriet  Lane  Johnston  was  accordingly  awarded  to  the 
Institution,  being  received  at  the  beginning  of  August,  1906. 
To  say  that  this  acquisition  raised  the  department  of  art  to  a 
standard,  if  not  to  a size,  appropriate  to  a National  Gallery 
would  be  but  a feeble  expression  of  its  import,  or  of  that  of  the 
court  decision.  Valuable  as  were  the  paintings,  the  real  gain 
was  in  the  stimulus  given  to  art  as  a feature  of  the  national  col- 
lections, in  the  example  set  that  the  Government  might  be 
trusted  as  a custodian  of  art  for  the  people.  The  generous  act 
of  Mrs.  Johnston  and  the  Court’s  ruling  met  with  spontaneous 
and  gratifying  approbation  in  all  parts  of  the  country,  and  the 
material  results  up  to  the  present  time  have  been  far  greater  than 
there  was  any  reason  to  expect. 


20 


THE  NATIONAL  GALLERY  OF  ART 


Influenced  by  the  attention  attracted  to  the  Smithsonian  by 
the  bequest  of  Mrs.  Johnston,  but  before  its  disposition  had  been 
decided  by  the  Court,  Mr.  Charles  E.  Freer,  of  Detroit,  Michigan, 
made  a deed  of  gift  to  the  Institution  of  his  notable  though  still 
unfinished  collection,  then  consisting  of  over  2,250  pieces. 
Unique  in  its  character  and  choice  in  its  selection,  it  combines 
the  work  of  a few  American  artists,  headed  by  James  McNeill 
Whistler,  with  that  of  the  masters  of  the  Far  East.  So  large  is 
this  collection  and  so  complete  its  lesson  that  the  donor  will 
provide  for  it  a special  building  near  the  new  structure  for 
the  National  Museum.  In  the  course  of  another  eight  months 
Mr.  William  T.  Evans,  of  New  York,  presented  to  the  nation  a 
collection  of  fifty  paintings  by  contemporary  American  artists, 
which,  through  frequent  additions,  has  been  increased  to  eighty- 
nine  examples,  and  it  is  understood  that  others  may  be  expected. 
There  have  also  been  several  separate  gifts  of  much  value,  but 
until  suitable  and  more  ample  quarters  are  provided  it  is  unlikely 
that  much  further  assistance  will  be  volunteered. 

In  view  of  the  events  just  set  forth,  it  became  necessary  to 
provide  a somewhat  definite  if  tentative  organization  for  the 
department  of  the  fine  arts,  and,  as  means  were  not  available  for 
adding  to  the  staff,  the  curatorship  of  the  National  Gallery  was 
offered  to  and  accepted  by  Mr.  William  H.  Holmes,  Chief  of  the 
Bureau  of  American  Ethnology  and  a well-known  artist,  until 
such  time  as  more  permanent  arrangements  could  be  effected. 
It  was,  moreover,  considered  essential  to  adopt  such  measures 
as  would  insure  the  maintenance  of  the  gallery  at  a proper  stand- 
ard, and  this  it  seemed  could  be  best  brought  about  in  accord- 
ance with  the  time-honored  custom  of  the  Institution  of  securing 
the  aid  and  cooperation  of  recognized  experts,  which  has  already 
brought  into  relationship  with  it  many  of  the  most  distinguished 
scientific  men  of  the  past  sixty  years.  A proposition  to  this 
effect  was  favorably  considered  by  the  Board  of  Regents  at  their 
first  meeting  after  the  receipt  of  the  Johnston  collection,  but  it 
was  not  carried  out  until  a year  later.  The  action  decided  upon 
was  the  organization  of  a permanent  honorary  committee,  com- 
posed of  men  not  only  competent  to  pass  judgment  on  the  quality 
of  such  works  of  art  as  might  be  presented  for  acceptance  by 
the  gallery,  but  also  so  identified  with  the  art  interests  of  the 


THE  NATIONAL  GALLERY  OF  ART 


21 


country  as  to  assure  to  the  public  and  especially  to  the  lovers  and 
patrons  of  art  the  wholly  worthy  purpose  of  this  movement  on 
behalf  of  the  nation. 

As  paintings  and  sculpture  were  the  subjects  with  which 
such  an  advisory  committee  was  expected  to  be  more  immedi- 
ately concerned,  its  membership  was  sought  with  this  require- 
ment in  view,  although  its  scope  might  at  any  time  be  enlarged. 
The  number  of  members  was  fixed  at  five  for  the  present,  the 
selection  of  three  of  these  being  requested  of  as  many  leading 
art  associations,  the  other  two  to  be  named  by  the  Institution. 
The  committee  held  its  first  meeting  for  organization  in  Wash- 
ington on  April  16,  1908,  and  is  constituted  as  follows:  Mr. 
Francis  D.  Millet,  Chairman;  Mr.  Frederick  Crowninshield, 
representing  the  Fine  Arts  Federation  of  which  he  is  President; 
Mr.  Edwin  H.  Blashfield,  representing  the  National  Academy  of 
Design;  Mr.  Herbert  Adams,  representing  the  National  Sculp- 
ture Society  of  which  he  is  President ; and  Mr.  William  H.  Holmes, 
of  the  Smithsonian  Institution,  Secretary  of  the  Committee. 

Notwithstanding  the  original  provision  for  art,  neither  of  the 
buildings  now  occupied  by  the  Museum  contains  quarters  which 
are  actually  suited  to  the  display  of  paintings  on  an  extensive 
scale,  due  to  defects  in  lighting.  This  applies  equally  to  the 
western  wing  and  connecting  range  of  the  Smithsonian  building, 
although  they  were  specially  designed  for  the  purpose,  and  to 
the  western  end  of  the  second  story  prepared  for  the  Indian 
pictures  of  Stanley  and  King.  Subsequent  to  the  fire  of 
January,  1865,  such  parts  of  the  collection  as  remained  after 
the  deposits  made  in  the  Library  of  Congress  and  the  Corcoran 
Gallery  of  Art  were  cared  for  in  the  offices  of  the  Institution  and 
the  exhibition  halls  of  the  Museum.  The  recall  of  these  deposits 
in  1896  led  to  the  fitting  up  of  one  of  the  rooms  on  the  second 
floor  of  the  eastern  wing  of  the  Smithsonian  building,  more 
especially  for  the  prints,  though  other  classes  of  objects  and  a 
part  of  the  art  library  are  also  kept  there. 

The  receipt  of  the  bequest  of  Harriet  Lane  Johnston  in  1906 
made  it  important  to  hasten  arrangements  for  at  least  the 
temporary  installation  of  paintings.  There  was  only  one  hall 
which  could  at  that  time  be  assigned  to  this  purpose,  the  lecture 
room  in  the  Museum  building  adjoining  the  main  entrance, 


22 


THE  NATIONAL  GALLERY  OF  ART 


and  such  necessary  changes  as  it  was  possible  to  make  were 
immediately  effected.  This  hall  is  one  of  the  ranges  at  the 
north  front  of  the  building,  and  has  a gently  sloping  roof  the 
under  side  of  which  forms  the  ceiling  of  the  room.  It  measures 
about  90  feet  long  and  50  feet  deep,  its  height  being  24  feet 
at  the  outer  wall  and  33  feet  at  the  inner.  It  was  entirely 
fireproofed  and  isolated  from  the  rest  of  the  building,  but  unfor- 
tunately it  contains  no  skylights,  and  natural  lighting  is  wholly 
derived  from  seven  windows  in  the  northern  wall.  The  two 
end  walls  are,  therefore,  the  only  ones  affording  good  light  for 
paintings,  although  considerable  additional  surface  of  equiva- 
lent value  has  been  secured  by  the  introduction  of  three  screens 
at  right  angles  to  the  windows,  each  measuring  about  29  feet 
long  by  16  feet  high.  Electric  lights  have  also  been  installed 
in  a single  row  under  metal  reflectors  along  three  sides,  and  in 
several  clusters  through  the  middle  of  the  hall,  and,  as  the 
windows  are  provided  with  shutters,  these  lights  can  be  used 
in  the  day  time  as  well  as  at  night.  The  total  number  of 
lineal  feet  of  space  available  for  the  hanging  of  paintings  is 
about  344,  of  which  170  feet  are  afforded  by  the  walls  and  174 
feet  by  the  screens.  The  walls  are  painted  an  olive  color,  dark 
below  the  picture  line  which  is  about  4J2  feet  from  the  floor, 
and  thence  light  to  a height  of  21  feet,  above  which  both  the 
walls  and  ceiling  are  a light  yellowish  gray.  The  fact  that  the 
supporting  framework  of  the  roof  is  exposed  does  not  materi- 
ally mar  the  effectiveness  of  the  hall.  The  height  of  the 
picture  rod  above  the  floor  is  15  feet  10  inches,  and  of  the  side 
electric  lights,  13  feet  10  inches. 

When  this  hall  was  first  opened  to  the  public  on  November  24, 
1906,  it  contained  the  Harriet  Lane  Johnston  collection  and  a 
number  of  other  paintings,  some  the  property  of  the  Govern- 
ment, the  remainder  being  loans.  Additions  have  since  been 
made,  and  the  hall  has  been  essentially  filled  at  all  times.  The 
first  fifty  paintings  of  the  William  T.  Evans  collection  were 
received  in  Washington  during  the  spring  of  1907.  As  there  was 
no  place  in  either  building  where  they  could  be  assembled,  they 
were,  through  the  courtesy  of  the  trustees,  accepted  on  deposit 
in  the  Corcoran  Gallery  of  Art,  where,  together  with  subsequent 
additions,  they  have  occupied  a large  part  of  the  atrium. 


A CORNER  OF  THE  PICTURE  GALLERY  IN  THE  MUSEUM  BUILDING,  NOVEMBER,  1 9C6,  BEFORE  IT  HAD  BEEN 
ENTIRELY  REMODELED,  SHOWING  A PART  OF  THE  HARRIET  LANE  JOHNSTON  COLLECTION.  THIS  HALL 
IS  NOW  USED  FOR  THE  EXHIBITION  OF  ART  TEXTILES 


THE  NATIONAL  GALLERY  OF  ART 


23 


The  question  of  providing  quarters  for  the  gallery  which  shall 
furnish  entirely  suitable  conditions  for  the  exhibition  of  paint- 
ings as  well  as  ample  space  to  meet  the  requirements  of  the  near 
future,  is  now  under  consideration.  The  art  interests  of  the 
country,  stimulated  by  the  recent  benefactions,  have  very 
generally  urged  the  immediate  erection  of  a special  building  for 
the  fine  art  collections  of  the  nation,  arguing  that  such  a recog- 
nition of  the  subject  by  the  Government  would  at  once  lead  to 
many  and  important  contributions.  This  desire,  which  can 
only  be  interpreted  as  an  expression  of  favorable  sentiment,  is 
both  gratifying  and  propitious,  but  to  the  Institution  it  seems 
best  to  advance  with  greater  deliberation.  The  planning  of  a 
building  would  require  some  time,  and  even  though  only  a part 
of  it  were  constructed  in  the  beginning,  it  is  doubtful  if  the 
present  nucleus  would  be  regarded  as  a sufficient  argument  for 
the  expenditure  that  would  be  called  for.  The  fine  large  build- 
ing which  is  now  under  construction  for  the  natural  history 
departments  of  the  Museum  is  the  outcome  of  many  years 
collecting,  and  has  been  rendered  imperative  by  the  immense 
amount  of  material  to  be  preserved  and  exhibited.  The  course 
which  appears  to  be  most  justifiable  at  present  is  to  fit  up  a 
provisional  gallery,  of  sufficient  size  to  accommodate  such 
additions  as  may  be  expected  within  a period  of  several  years, 
or  until  some  definite  conclusion  can  be  reached  as  to  the  future. 
The  Institution  can  furnish  the  requisite  amount  of  space,  and 
it  will  only  be  necessary  to  adapt  it  to  the  purpose  from  the 
standpoint  of  lighting  and  of  wall  space  for  hanging.  As 
described  elsewhere,  Mr.  Charles  L.  Freer  will  provide  the 
means  for  erecting  a special  building,  containing  both  exhibition 
rooms  and  studios,  to  house  his  collection. 

In  the  body  of  this  paper,  which  follows,  the  art  movement  on 
behalf  of  the  Government  is  discussed  chronologically  from  the 
establishment  of  the  National  Institute  in  1840  to  the  present 
time.  The  material  used  has  been  taken  from  both  manuscript 
and  printed  records  and  reports,  but,  owing  to  the  incomplete- 
ness of  these,  especially  for  the  earlier  years,  it  has  so  far  been 
impossible  to  adequately  explain  or  account  for  many  of  the 
older  acquisitions,  or  to  trace  the  disposition  of  several  of  some 
importance  which  have  disappeared.  On  the  other  hand,  the 


24 


THE  NATIONAL  GALLERY  OF  ART 


files  of  the  Museum  contain  unpublished  letters  relating  to  a few 
of  the  paintings  which  are  of  so  much  historical  and  personal 
interest  that  it  has  been  thought  desirable  to  insert  them  in 
their  appropriate  places. 

The  paper  is  to  be  regarded  simply  as  a historical  account. 
It  contains  no  comments  or  criticisms  on  the  artistic  merits  of 
any  of  the  objects  or  collections  mentioned,  except  in  a few 
cases  where  values  are  manifestly  obvious.  The  last  section  of 
the  paper,  under  the  heading  National  Gallery  of  Art,  may 
serve  the  purpose  of  a preliminary  catalogue  of  that  gallery, 
but  it  will  be  supplemented  by  another  and,  it  is  hoped,  a 
more  useful  one  as  soon  as  the  pictures  can  be  assembled. 


THE  NATIONAL  INSTITUTE,  1840-1862 

On  the  15  th  of  May,  1840,  there  was  founded  in  the  city  of 
Washington  a society  called  “The  National  Institution  (later 
changed  to  National  Institute)  for  the  Promotion  of  Science,” 
whose  aims  were  very  inadequately  set  forth  in  two  articles  of 
the  constitution  adopted  at  that  time,  as  follows : 

“Article  XIV.  The  resident  and  corresponding  members 
shall  exert  themselves  to  procure  specimens  of  natural  history, 
&c.;  and  the  said  specimens  shall  be  placed  in  the  Cabinet,  under 
the  superintendence  of  a Board  of  Curators,  to  be  appointed  by 
the  Directors.  All  such  specimens,  &c.,  unless  deposited  spe- 
cially, shall  remain  in  the  Cabinet,  and  in  case  of  the  dissolution 
of  the  Institution,  shall  become  the  property  of  the  United 
States. 

“Article  XV.  The  resident  members  of  the  Institution  shall 
be  divided  into  such  departments  as  may  hereafter  be  deter- 
mined upon.  The  members  comprising  each  department  shall 
especially  be  charged  with  the  subjects  embraced  therein,  and 
communicate  to  the  Institution  the  result  of  their  inquiries ; but 
every  member  shall  have  the  privilege  of  making  such  communi- 
cations as  he  may  think  proper  on  any  subject  connected  with 
the  designs  of  the  Institution.  ” 

Although  nominally  established  for  scientific  pursuits,  the 
organization  comprehended  a department  of  literature  and  the 
fine  arts,  on  which  subjects  the  Hon.  Joel  R.  Poinsett,  Secretary 
of  War  and  Senior  Director  of  the  society,  spoke  as  follows, 
January  4,  1841,  in  a discourse  on  the  objects  and  importance  of 
the  Institution : 

“Literature  and  the  fine  arts  go  hand  in  hand.  The  flourishing 
condition  of  the  first  is  a sure  prelude  to  the  advancement  of  the 
latter;  and  their  united  influence  adds,  in  a high  degree,  to  the  en- 
joyment of  human  existence.  Their  progress  has  everywhere 
kept  pace  with  that  of  the  moral  and  social  condition  of  mankind, 
and  their  history  marks,  with  unerring  truth,  the  rise  and  fall  of 


26 


26 


THE  NATIONAL  GALLERY  OF  ART 


nations.  In  tracing  that  history,  it  is  gratifying  to  perceive  that 
while  literature  and  the  arts  contribute  so  largely  to  improve  and 
refine  mankind,  they  have  flourished  most  in  those  countries 
where  free  institutions  prevailed,  and  where  liberty  loved  to 
dwell.  In  other  countries,  a taste  for  literature  and  the  fine 
arts  is  confined  to  a favored  few — the  aristocracy  of  birth,  of 
wealth,  or  of  talent;  and  there  such  a distribution  is  natural  and 
may  be  sufficient,  because  these  classes  alone  govern  those 
countries.  Here,  the  people  reign — all  power  is  centered  in 
them ; and  if  we  would  have  them  not  only  maintain  their  ascend- 
ency, but  use  their  power  discreetly,  no  expense  or  pains  should 
be  spared  to  inspire  them  with  a love  of  literature,  and  a taste 
for  the  fine  arts.  To  effect  this,  the  effort  must  be  made  here. 
It  must  originate  at  the  seat  of  Government,  and  spread  from 
this  place  over  the  populous  plains  and  fertile  valleys  of  the 
land.  Could  a greater  curse  fall  upon  this  country  than  that 
the  sons  of  the  intelligent,  and  enlightened,  and  virtuous  men 
who  achieved  our  independence  and  secured  our  freedom, 
should  become  less  intelligent,  less  enlightened,  and  less  vir- 
tuous than  their  sires?  That  these  valleys  and  plains,  instead 
of  teeming  with  a race  burning  with  the  love  of  freedom,  and 
ever  ready  and  able  to  vindicate  their  rights,  should  be  filled  by 
a people  supine  and  ignorant,  the  fitting  tools  of  demagogues 
and  tyrants? 

“In  a free  country,  literature  may  and  will  flourish  by  the 
well  directed  efforts  of  individuals;  but  the  arts  require  the  pro- 
tecting hand  of  Government.  They  owe  their  origin,  their 
progress,  and  their  present  condition  to  that  source  and  to  reli- 
gious enthusiasm.  Their  first  object  was  to  personify  the  god- 
like forms  of  heathen  idolatry,  and  to  hand  down  to  posterity 
the  image  of  the  heroes  to  whom  a nation  owed  its  gratitude. 
They  subsequently  became  the  means  of  recording  the  miracles 
of  the  true  faith,  and  of  spreading  the  history  of  the  Christian 
church  over  the  world.  In  our  favored  land,  they  would  com- 
memorate the  heroic  deeds  of  our  forefathers,  their  achieve- 
ments and  sacrifices  in  the  cause  of  independence,  their  deep 
devotion  to  the  freedom  of  their  country.  To  a certain  extent, 
this  has  been  effected  by  the  liberality  of  Government;  statues 
have  been  erected,  paintings  executed,  and  medals  struck  by 


THE  NATIONAL  GALLERY  OF  ART 


27 


orders  of  Congress.  Copies  of  such  pictures,  statues,  and  medals, 
should  be  spread  far  and  wide  over  the  land,  that  they  may  pene- 
trate into  every  hamlet,  and  inspire  the  people  universally  with 
gratitude  and  emulation.  From  the  advancement  of  the  fine 
arts,  we  may  promise  ourselves  great  improvements  in  the  archi- 
tecture of  our  private  and  public  buildings;  in  the  former,  a 
better  adaptation  of  the  arrangements  to  the  comforts  and  con- 
veniences of  life;  in  the  latter,  more  suitable  forms  and  arrange- 
ments for  the  purposes  of  business.  We  are  led  away  by  the 
imposing  appearance  of  massive  colonnades  and  splendid  por- 
ticos, and  apply  them  equally  to  temples  and  to  buildings,  in- 
tended altogether  for  the  transaction  of  public  business.  This 
is  a mistake  which  the  more  chastened  taste  will  correct. 

“A  collection  of  models  and  paintings  at  Washington  could 
not  fail  to  be  highly  useful.  It  would  aid  the  cultivation  of 
the  art  of  design,  which  cannot  be  too  strongly  recommended. 
It  multiplies  the  resources  and  enjoyments  of  the  professional 
man,  and  is  an  essential  accomplishment  to  the  architect,  the 
machinist,  the  artizan,  and  the  mechanic.  It  ought  to  be 
taught  in  our  common  schools;  and  every  mechanic  should  be 
able  to  sketch  with  accuracy  his  own  plans,  and  to  copy  those 
of  others,  so  as  to  be  able  to  profit  by  every  improvement  that 
comes  under  his  observation.” 

The  first  constitution  of  the  Institute  provided  for  two  di- 
rectors, which  positions  were  to  be  filled,  ex  officio,  by  the  Sec- 
retary of  War  and  the  Secretary  of  the  Navy,  but  an  amend- 
ment adopted  in  April,  1841,  established  the  office  of  president 
which  was  first  conferred  on  Mr.  Poinsett.  The  membership, 
divided  into  resident,  corresponding  and  honorary,  included 
many  men  of  distinction  in  the  political  history  of  the  country 
as  well  as  in  the  various  professions.  At  one  time  it  exceeded 
1,000  persons,  of  whom  about  300  were  residents,  the  remainder 
representing  different  sections  of  the  United  States  and  prac- 
tically all  other  civilized  countries. 

By  an  act  of  Congress,  approved  July  27,  1842,  the  society 
was  incorporated  under  the  title  “ National  Institute,”  for  a term 
of  20  years,  ‘‘and  no  longer,  unless  Congress  shall  by  law  pro- 
long its  existence.”  It  was  also  provided  in  the  charter  that, 
‘‘all  the  property  of  the  said  corporation,  at  the  time  of  the  ex- 


28 


THE  NATIONAL  GALLERY  OF  ART 


piration  or  dissolution  of  its  charter,  shall  belong  to  and  de- 
volve upon  the  United  States;  and  the  President  of  the  United 
States  for  the  time  being  shall  appoint  a person  or  persons  to 
take  possession  of  and  keep  and  preserve  the  same,  unless  and 
until  Congress  shall  otherwise  dispose  of  the  same.” 

To  those  who  are  acquainted  with  the  history  of  the  Govern- 
ment at  this  period,  it  will  be  recalled  that  there  was  a strong 
underlying  motive  in  the  organization  of  the  Institute — the  con- 
trol of  the  Smithson  bequest,  which  had  been  brought  to  this 
country  in  1838,  and  was  then  engaging  the  attention  of  Con- 
gress. In  fact,  the  society  was  founded  with  the  express  view 
of  making  itself  the  agent  for  executing  the  objects  contemplated 
under  that  bequest,  and  the  best  efforts  of  its  influential  members 
were  exerted,  though  ineffectually,  toward  accomplishing  this 
purpose.  In  the  beginning  it  was  very  prosperous,  although 
wholly  dependent  for  funds  upon  the  dues  of  its  resident  mem- 
bers, but  as  soon  as  it  became  known  that  the  society  would 
not  be  recognized  by  Congress  in  the  organization  of  the 
Smithsonian  Institution,  interest  slackened  and  its  activities 
diminished. 

In  April,  1841,  the  society  was  granted  the  use  of  extensive 
quarters  in  the  Patent  Office  building,  mainly  one  large  hall, 
for  its  collection  and  those  of  the  Government  confided  to  its 
care,  which  formed  a considerable  museum  for  that  time. 
These  collections  were  practically  unlimited  in  scope,  except 
that  they  did  not  encroach  upon  the  province  of  the  Patent 
Office.  Natural  history  and  ethnology  predominated.  There 
were  many  objects  or  relics  of  historical  interest,  and  coins  and 
curiosities.  Art  was  represented  by  a large  number  of  exam- 
ples, and  although  only  a few  of  these  were  of  sufficient  merit 
to  entitle  them  to  a place  in  a museum  of  the  fine  arts,  yet  it 
must  be  acknowledged  that  the  germ  of  a national  gallery  had 
actually  been  assembled  by  the  society  as  early  as  1845,  since 
the  greater  part  of  the  collection  had  been  obtained  by  that 
time. 

The  collection  of  art  as  of  other  subjects  was  divisible  into 
two  parts  according  to  ownership.  One  part  was  the  property 
of  the  society  during  its  existence,  mainly  the  gift  of  friends 
together  with  a few  loans;  the  other  belonged  to  the  Govern- 


THE  NATIONAL  GALLERY  OF  ART 


29 


ment.  In  1858,  when  the  Smithsonian  building  had  been 
finished,  and  its  museum  and  library  halls  partly  furnished,  all  of 
the  Government  collections,  which  a few  years  before  had  passed 
to  the  custody  of  the  Commissioner  of  Patents,  were  transferred 
to  the  Smithsonian  Institution.  The  collections  of  the  National 
Institute  were  not  turned  over  until  1862,  upon  the  terniination 
of  its  charter  and  in  accordance  with  its  terms. 

In  the  list  which  follows  are  enumerated  such  of  the  art 
objects  contained  in  the  museum  of  the  National  Institute, 
whether  belonging  to  the  society  or  to  the  Government,  as  are 
clearly  indicated  by  the  records.  Since,  however,  the  records 
are  very  imperfect,  it  has  not  been  possible  to  determine  the 
original  ownership  in  all  cases,  and  it  is  also  certain  that  the 
list  is  far  from  complete,  as  many  engravings  and  other  works 
known  to  have  been  received  from  Europe  are  not  accounted  for. 

No  catalogue  of  the  objects  as  transferred  from  the  society 
and  the  Patent  Office  to  the  Smithsonian  Institution  has  been 
found,®  and  in  the  absence  of  such  a list  it  is  impossible  to  say 
which  of  the  examples  of  art  enumerated  below  were  actually 
received  by  the  Institution,  except  as  they  were  mentioned  in 
early  Smithsonian  reports  or  are  now  in  the  possession  of  the 
National  Museum,  as  explained  further  on.  Some  were  unfortu- 
nately destroyed  in  the  Smithsonian  fire  of  1865. 

It  is  interesting  to  note  in  this  connection  the  existence  in 
Washington  as  early  as  1836  of  a small  private  museum  of 

® A catalogue  of  the  collections  of  the  National  Institute,  by  Alfred 
Hunter,  was  published  in  several  editions  beginning  with  1854,  two  appear- 
ing before  the  transfer  of  the  Government  material  in  1858,  and  at  least 
one  subsequently,  but  before  the  collections  belonging  to  the  Institute 
were  turned  over  to  the  Smithsonian.  None  of  the  editions  is  complete 
or  reliable.  The  title  of  the  second  edition  is  as  follows:  A Popular  Cata- 
logue of  the  Extraordinary  Curiosities  in  the  National  Institute,  arranged 
in  the  building  belonging  to  the  Patent  Office.  Curiosities  collected  from 
all  parts  of  the  world,  by  the  officers  of  the  Army  and  Navy  of  the  United 
States.  Curios  and  strange  articles,  presented  by  private  individuals. 
Revolutionary  relics  of  extraordinary  interest.  Articles  of  immense  value, 
presented  to  the  United  States  Government  and  its  officers,  deposited 
here  according  to  law.  Articles  collected  by  the  United  States  Exploring 
Expedition,  under  Commander  Wilkes,  at  a cost  to  Government  of  several 
millions  of  dollars,  etc.  Second  edition.  Washington:  Published  by 
Alfred  Hunter,  1855. 


30 


THE  NATIONAL  GALLERY  OF  ART 


curiosities  containing,  besides  many  specimens  of  natural  his- 
tory, historical  relics  and  coins,  a number  of  pictures  and  mis- 
cellaneous objects  of  art,  since  it  later  came  into  the  possession 
of  the  National  Institute  and  three  oil  paintings  from  this 
source  are  still  preserved  in  the  National  Museum.  The  origi- 
nator of  this  collection,  named  John  Varden,  though  neither  a 
professional  nor  even  an  amateur  in  art  or  science,  was  richly 
endowed  with  the  instincts  of  a collector  and  showman.  Hav- 
ing little  means,  he  was  mainly  dependent  upon  gifts  and  loans, 
which  were  contributed  by  so  many  persons  as  to  indicate  a 
wide  acquaintanceship.  His  industry  and  aptitude  for  business 
details  led  to  his  subsequent  employment  by  the  two  establish- 
ments to  which  his  material  was  successively  conveyed.  He 
first  called  his  collection  “John  Varden’s  Museum,”  and  a list 
of  its  contents  was  kept  in  a large  book,  with  the  dates  of 
acquisition  and  the  names  of  donors  and  lenders.  The  following 
extract  from  the  initial  page  describes  naively  his  incentive  and 
expectations : 

“This  collection  was  commenced  by  John  Varden,  a resident 
of  the  city  from  the  year  1803.  I was  induced  to  commence 
this  collection  in  1829  in  consequence  of  three  persons  having 
opened  and  made  very  great  collections  from  the  generous 
citizens  and  then  leaving  the  place,  taking  the  many  rich  and 
scarce  donations  with  them,  thus  leaving  the  seat  of  Government 
without  so  valuable  an  institution.  I shall,  therefore,  continue 
my  exertions  and  I hope,  with  the  aid  of  all  those  friendly  to 
such  a rational  place  of  amusement,  to  be  able  at  no  very 
distant  period  to  make  the  attempt  at  a public  exhibition  in 
a proper  house.” 

Under  date  of  June  1,  1836,  the  name  was  changed  to 
“Washington  Museum,  John  Varden  Proprietor,”  and  from 
the  following  note  it  would  appear  that  the  collection  was  then 
first  opened  to  the  public:  “Having  built  a room  30  feet  long 
and  prepared  it  and  another  room  for  the  reception  of  visitors, 
and  having  arranged  between  400  and  500  specimens,  I adver- 
tised that  my  collection  was  now  ready  for  the  citizens  to  visit.” 
These  rooms  were  at  the  corner  of  John  Marshall  Place  and  D 
Street,  near  the  City  Hall.  In  June,  1841,  according  to  Varden, 
the  collection  was  examined  by  a committee  from  the  National 


THE  NATIONAL  GALLERY  OF  ART 


31 


Institute,  and  soon  thereafter  it  was  removed  to  and  became 
a part  of  the  museum  of  that  society  in  the  building  of  the 
Patent  Office.  It  was  valued  by  Varden  at  $1,500,  but  there  is 
no  evidence  that  he  was  paid  for  it,  the  employment  of  its 
owner  having  probably  been  accepted  as  a satisfactory  equiva- 
lent. In  Varden’s  catalogue  thirty-two  art  objects  are  cited  by 
titles  and  some  others  are  referred  to,  but  among  them  all,  with 
possibly  one  or  two  exceptions,  none  seems  to  have  had  any 
special  artistic  merit.  Out  of  seven  oil  paintings  enumerated 
only  the  three  mentioned  below  are  now  identifiable.  They 
were  entitled  as  follows  in  the  catalogue  of  the  Institute: 
Massacre  of  the  Innocents,  Turkish  Battle  Piece,  and  Portrait 
of  Cardinal  Mazarin.  There  were  also  recorded  busts  in  plaster 
of  Washington,  Franklin,  and  John  Quincy  Adams;  and 
numerous  prints,  including  three  engravings  attributed  to  Albert 
Diirer. 

ANNOTATED  LIST  OF  ART  OBJECTS  IN  THE  MUSEUM 
OF  THE  NATIONAL  INSTITUTE 

Portraits 

FULL  LENGTH  PORTRAIT  OF  WASHINGTON.  By  Charles  Willson 
Peale. 

According  to  Mr.  Charles  Henry  Hart,  who  has  given  much 
attention  to  the  subject,®  the  original  of  this  portrait,  painted 
for  the  Supreme  Executive  Council  of  Pennsylvania,  from 
sittings  in  Philadelphia  in  the  first  part  of  1778,  is  in  the  pos- 
session of  Mr.  Thomas  McKean,  at  Femhill,  Germantown, 
Pennsylvania.  The  canvas  here  listed  is  described  by  Mr. 
Hart  as  one  of  many  repetitions  painted  by  Peale  in  1779, 
which  date  it  bears,  as  well  as  the  signature  of  the  artist.  Its 
early  history  has  never  been  satisfactorily  explained,  but  it 
was  evidently  sent  to  Europe  to  be  sold,  probably  in  the  same 
year  that  it  was  painted.  It  was  brought  back  to  this  country 
from  France  by  Julius,  Count  de  Menou,  from  whom  it  was 
purchased,  in  October,  1841,  by  Mr.  Charles  B.  Calvert,  of 

a Peale’s  Original  Whole-length  Portrait  of  Washington — A Plea  for 
Exactness  in  Historical  Writings.  Annual  Report  of  the  American  Histor- 
ical Association  for  1896,  pp.  191-200. 

21394°— 16 3 


32 


THE  NATIONAL  GALLERY  OF  ART 


Prince  George  County,  Maryland,  for  the  sum  of  $200.  The 
latter  placed  it  with  the  National  Institute  in  Washington,  and 
in  1862  it  was  turned  over  to  the  Smithsonian  Institution. 
It  was  sent  to  Philadelphia  in  1876  for  exhibition  in  connection 
with  the  Centennial  Exhibition  and  remained  at  the  Pennsyl- 
vania Academy  of  Fine  Arts  until  1881,  when  it  was  recalled 
to  the  Smithsonian  and  lent  to  the  Corcoran  Gallery  of  Art. 
A claim  to  ownership  of  the  picture  by  Titian  R.  Peale,  a son 
of  Charles  Willson  Peale,  was  decided  adversely  by  the  Board 
of  Regents  of  the  Smithsonian  Institution  in  1873,  on  the  ground 
that  sufficient  proof  had  not  been  presented,  but  in  1882  Con- 
gress appropriated  $5,000  in  settlement  of  the  claim,  and  the 
portrait  was  transferred  to  the  Capitol,  where  it  now  hangs. 

PORTRAIT  OF  F.  P.  G.  GUIZOT.  By  George  P.  A.  Healy. 

The  records  of  the  National  Institute  describe  this  painting 
as  a full-length  portrait  of  Guizot,  the  celebrated  author  and 
minister  of  Louis  Philippe,  presented  by  the  American  citizens 
residing  in  Paris.  It  was  intended  as  a memorial  of  their  grati- 
tude to  the  distinguished  historian  of  the  great  progress  of  civi- 
lization, for  his  French  translation  of  the  life  and  writings  of 
Washington.  The  subscribers  to  the  portrait  desired  that  it  be 
placed  in  one  of  the  public  edifices  in  the  Capital  of  the  United 
States,  where  it  could  be  seen  by  the  largest  number  of  its  peo- 
ple. It  cost  about  2,000  francs,  each  subscription  being  limited 
to  50  francs.  It  was  brought  to  this  country  by  Captain  Franck, 
of  the  ship  Oneida,  who  declined  to  receive  any  compensation 
for  freight  and  other  charges. 

The  portrait  was  turned  over  to  the  National  Institute  by  the 
President  of  the  United  States,  whose  letter  and  the  letter  of 
acceptance  are  as  follows : 

Washington,  June  21, 1842. 

Sir:  A full  length  Portrait  of  Mon.  Guizot,  Prime  Minister  of  France 
and  Biographer  of  George  Washington,  executed  by  Mr.  Healy,  an  Ameri- 
can artist,  upon  subscription  of  certain  American  citizens  resident  in  Paris, 
has  been  consigned  to  my  care  with  a request  that  I would  give  it  a place 
in  some  one  of  the  public  buildings  of  this  Capital. 

After  full  consideration  of  the  best  disposition  to  be  made  of  it,  as  well  in 
honor  of  the  distinguished  statesman  and  man  of  letters,  whose  person 
and  features  it  is  said  most  accurately  to  delineate,  as  fully  to  meet  the 
wishes  of  the  citizens  who  have  made  me  its  repository,  I have  concluded  to 
tender  it,  through  you,  to  the  National  Institute. 


GEORGE  P.  A.  HEALY 


F.  P.  G.  GUIZOT,  1841 


(See  page  32) 


THE  NATIONAL  GALLERY  OF  ART 


33 


May  I ask,  Sir,  that  you  will  take  measures  to  give  the  portrait  such  place 
in  the  Institute  as  may  exhibit  it  to  the  best  advantage,  and  thereby  gratify 
the  wishes  of  many  of  our  fellow  citizens  whose  desire  it  is  to  see  it. 

I venture  to  express  the  opinion  that  as  a work  of  art,  apart  from  the 
high  consideration  in  which  the  original  is  justly  held,  it  may  favorably  be 
compared  with  any  similar  work  to  be  found  in  the  United  States. 

I tender  to  you,  Sir,  assurance  of  my  high  consideration  and  respect. 

John  Tyler. 

Hon.  Joel  R.  Poinsett, 

President,  National  Institute. 


June  22,  1842. 

Sir:  I have  the  honor  to  acknowledge  the  receipt  of  your  letter  of  the 
2 1st  instant,  tendering  through  me  to  the  National  Institute  Mr.  Healy’s 
picture  of  Monsieur  Guizot,  Prime  Minister  of  France  and  the  Biographer 
of  Genl.  Washington. 

The  Institute,  fully  appreciating  the  merit  of  this  painting,  acknowl- 
edges its  high  obligations  to  you  for  this  valuable  addition  to  its  collection, 
and  I beg  to  assure  you,  Sir,  that  it  will  take  pleasure  in  exhibiting  to  the 
best  advantage  the  portrait  of  a man  esteemed  by  the  American  people, 
equally  for  hi«  eminent  talents  as  a statesman  & distinguished  ability  and 
impartiality  as  an  historian. 

I have  the  honor  to  be  with  the  highest  consideration  & respect,  Sir, 
Your  most  obt.  servt. 

J.  R.  Poinsett 
Prest.  Nat.  Inst. 

To  Jno.  Tyler, 

President  of  the  United  States. 

This  noteworthy  portrait,  which  came  into  the  possession  of 
the  Smithsonian  Institution  in  1862,  was  painted  in  1841,  and 
measures  94  inches  high  by  68  inches  wide. 

PORTRAIT  OF  PRESIDENT  JOHN  TYLER.  By  George  P.  A.  Healy. 

PORTRAIT  OF  WILLIAM  C.  PRESTON,  U.  S.  Senator  from  South 
Carolina,  1833-1843.  By  George  P.  A.  Healy. 

The  interesting  circumstances  connected  with  the  execution 
of  these  excellent  portraits  are  explained  in  an  extract  from 
the  records  of  the  Institute,  and  in  two  letters  from  Mr.  Healy, 
as  follows : 

At  a meeting  of  the  Institute,  on  December  12,  1842,  Col. 
J.  J.  Abert  made  the  following  announcement:  “During  the 


34 


THE  NATIONAL  GALLERY  OF  ART 


last  spring,  Mr.  Healy,  a distinguished  American  painter,  who 
had  been  many  years  occupied  in  Europe  in  the  study  of  his 
art,  was  deputed  by  the  King  of  France  to  visit  our  city  for 
the  purpose  of  taking  a copy  of  Stuart’s  Washington,  a painting 
in  the  House  of  the  President.  On  his  arrival  it  occurred  to 
several  of  us,  to  take  advantage  of  this  opportunity  for  obtain- 
ing specimens  of  his  art  from  Mr.  Healy  in  the  portraits  of 
some  of  our  distinguished  citizens,  known  friends  of  the  Insti- 
tute, to  be  presented  to  the  Institute.  We  accordingly  proposed 
a subscription  for  two  portraits,  one  of  the  President  of  the 
U.  S.,  Patron  of  the  Institute,  the  other  of  the  Honorable 
Mr.  Preston,  its  ardent,  intelligent  and  efficient  friend.  Having 
obtained  the  consent  of  these  gentlemen  and  having  engaged 
Mr.  Plealy  for  the  work,  the  portraits  were  made  and  are  now 
presented  to  the  Institute  in  the  names  of  those  on  the  annexed 
list.” 

The  list  is  here  given  in  the  order  and  with  the  abbreviations 
of  titles  of  the  original : Col.  J.  J.  Abert,  Corps  of  Engrs.,  U.  S.  A. ; 
Com.  Warrington,  U.  S.  N.;  Major  W.  Turnbull,  Corps  of 
Engrs.;  F.  Markoe,  Jr.,  Cor.  Sec.  Nat.  Inst.;  Col.  J.  G.  Totten, 
Corps  Engrs.;  Charles  Hill;  Capt.  G.  W.  Hughes,  Corps  of 
Engrs.;  McClintock  Young;  G.  W.  Riggs;  B.  Ogle  Taylor; 
Col.  Talcott,  Ord.  Corps;  Rob.  Greenhow;  G.  R.  Barry,  Rec. 
Sec.  Nat.  Inst.;  H.  O.  Dayton,  4th  Auditor;  Capt.  W.  G.  Wil- 
liams, Corps  of  Engrs.;  Peter  Force,  V.  P.  Nat.  Inst.;  Capt. 
J.  Chauncy,  U.  S.  N.;  Major  J.  D.  Graham,  Corps  of  Engrs.; 
A.  Hunter,  Marshal,  Dist.  Col.;  F.  R.  Harper;  Ft.  Col.  J. 
Kearney,  Corps  of  Engrs.;  W.  J.  Stone,  Treas.  Nat.  Inst.; 
W.  A.  Bradley;  J.  C.  Hall,  M.  D. ; Col.  George  Bomford,  Ord. 
Corps;  W.  W.  Corcoran;  W.  B.  Scott,  Navy  Agent;  Th.  H. 
Crawford,  Com.  Ind.  Affairs;  Major  Gen.  Scott,  U.  S.  A.;  Capt. 
W.  H.  Swift,  Corps  of  Engrs.;  1st  Lt.  P.  Kearney,  U.  S.  A.; 
Th.  P.  Jones;  Capt.  J.  McClellan,  Corps  of  Engrs.;  Th.  L. 
Smith,  Reg.  U.  S.  Treas.;  H.  R.  Randall;  Major  General 
Jesup,  U.  S.  A. 

The  number  of  subscribers  was,  therefore,  36,  of  whom  35  paid 
$10  each,  and  one  $5,  making  the  entire  amount  contributed 
$355.  The  sum  of  $300  was  paid  to  the  artist  for  the  two 
pictures,  while  $33.37  were  expended  for  the  frames  and  other 


GEORGE  P.  A.  HEALY 


PRESIDENT  JOHN  TYLER,  1842 


THE  NATIONAL  GALLERY  OF  ART 


35 


incidentals.  The  artist  of  to-day  will  be  interested  to  know 
that  the  frames,  of  tasteful  design,  cost  $n  each,  and  are  still 
in  good  condition  after  the  lapse  of  67  years. 

Washington,  31  May,  1842. 

To  Col.  J.  J.  Abert, 

Chief  of  the  Corps  of  T opographical  Engineers  and 

one  of  the  Directors  of  the  National  Institution. 

Dear  Sir:  I have  this  moment  received  your  communication  of  yester- 
day’s date,  informing  me  that  many  members  of  the  National  Institution 
had  joined  in  a wish  that  I should  execute  for  them,  portraits  of  the  Presi- 
dent of  the  United  States,  and  the  Hon.  W.  C.  Preston,  of  the  Senate,  for 
the  purpose  of  being  placed  in  the  Gallery  of  the  Institution. 

It  is  not  in  my  power  to  express  to  you  and  to  those  with  whom  you  are 
associated  in  an  application  so  unexpected  and  so  gratifying,  how  deeply 
sensible  I am  of  the  honor  which  has  been  conferred  upon  me  by  my  coun- 
trymen on  the  occasion;  and  in  accepting  the  high  trust,  which  I do  with 
pride  and  alacrity,  not  unmixed  with  real  diffidence,  I have  only  to  add  that 
no  efforts  on  my  part  shall  be  spared  to  endeavor  to  produce  works,  as 
worthy  as  I can  make  them,  of  these  eminent  individuals,  and  of  the  noble 
cause  to  which  they  and  yourselves  are  united  in  devotion. 

I return  you,  my  dear  Sir,  my  personal  thanks  for  the  manner  in  which  you 
have  imparted  to  me  intelligence  of  one  of  the  most  agreeable  incidents  of 
my  life,  an  incident  which  I shall  ever  remember  with  renewed  satisfaction. 

And  I remain,  my  dear  Sir,  with  perfect  esteem,  your  friend  and  ob’t.  sv’t. 

Geo.  P.  A.  Heaey. 


Boston,  Sept,  igth,  1842. 

My  very  dear  Sir:  I feel  myself  deeply  at  fault  in  this  apparent  neglect 
of  mine,  in  not  having  acknowledged  your  kind  favor  of  the  seventh  of 
August,  containing  the  remittance  of  three  hundred  dollars,  which  you 
speak  of  in  your  last  of  the  16th  inst.  I am  unable  to  express  the  gratitude 
so  strong  in  me,  to  yourself  and  fellow-subscribers,  members  of  our  National 
Institute,  for  this  splendid  commission  with  which  you  have  honored  me; 
it  is  that  upon  which  I shall  reflect  with  infinite  pleasure  to  the  last  day  of 
my  life.  The  portrait  of  our  esteemed  President,  I will  return  to  you, 
directed  to  your  care,  with  many,  many  thanks  for  the  generous  permission 
given  me  to  copy  it,  on  Saturday  or  Monday  next.  To  our  mutual  friend 
Mr.  Markoe  and  your  charming  families,  I beg  to  be  most  kindly  remembered, 
with  the  hope  of  seeing  you  all,  on  my  return  the  ensuing  year,  in  health  & 
happiness,  I remain, 

My  very  dear  Sir,  most  sincerely  & truly  yrs., 

Geo.  P.  A.  Healy. 

J.  J.  Abert, 

Col.  Corps  of  E. 


36 


THE  NATIONAL  GALLERY  OF  ART 


These  two  portraits  now  hang  in  the  gallery,  in  the  National 
Museum.  Both  show  half  length  figures  and  are  of  the  same 
size,  measuring  36^  inches  high  and  29^  inches  wide. 

PORTRAIT  OF  CAPTAIN  JOHN  EVANS.  By  John  Singleton  Copley. 

A full  length  portrait  of  this  distinguished  merchant  of  New 
England  during  the  latter  part  of  the  colonial  period,  was  pre- 
sented to  the  Institute  by  his  son,  in  a letter  dated  Washington, 
August  15,  1842,  as  follows: 

F.  Markoe,  Junr.,  Esquire, 

Corresponding  Secretary  of  the  National  Institute. 

Sir:  Having,  from  time  to  time,  noticed  in  the  public  papers,  that  a prac- 
tice is  prevailing  on  the  part  of  individuals,  of  making  presents,  of  more  or 
less  value  and  interest,  to  the  National  Institute,  it  had  happened  to  occur 
to  me  whether  a Portrait  in  my  possession  might  not  from  its  historical 
relation,  be  acceptable. 

I offer  it,  Sir,  without  the  slightest  pretension  to  the  honour  of  connecting 
my  name,  individually,  with  that  of  the  institution,  or  of  publicly  associa- 
ting this  name  with  that  of  Him  whom  the  portrait  exhibits. 

The  portrait,  Sir,  is  one  of  my  Father,  John  Evans,  Esquire,  who  was  a 
distinguished  Merchant  of  New  England,  in  about  the  year  1760,  and 
Linguist  for  the,  then,  Colonies  in  relation  to  the  French  fleets  in  that 
quarter  during  the  Revolution.  And,  Sir,  I owe  it  to  that  which  is  far 
more  dear  to  the  community  and  to  your  institution  than  even  History 
and  the  Arts,  to  say,  that  this  individual  was  remarkable  for  integrity  and 
every  other  noble  quality  of  the  heart  and  mind. 

The  Portrait  is  about  six  feet  by  eight; — was  executed  by  Copely; — and 
cost  one  hundred  guineas. 

My  motive  in  presenting  it,  Sir,  is  not  pride,  nor  vanity,  nor  generosity; — 
it  is  merely  to  preserve  it.  The  vicicitudes  of  my  life,  by  causing  numer- 
ous removals  of  the  canvass,  have  materially  injured  it;  and  I fear  it 
would  not  long  stand  before  the  influences  of  future  time  and  fortune. 

I remain,  Sir,  very  respectfully,  your  obedient  servant, 

Estwick  Evans. 


Washington,  25  Augt.  1842. 

To  Estwick  Evans  Esq. 

Washington. 

Dear  Sir:  Mr.  Gales  placed  in  my  hands  to-day  your  letter  of  the  15th 
inst.  & I hasten  to  acknowledge  its  receipt,  & to  accept  in  behalf  of  the 
Nat.  Institute  the  portrait  of  your  father,  wh.  as  a work  of  art  alone,  & 
the  production  of  so  eminent  an  artist  as  Copely,  will  be  a most  valuable 
acquisition  to  the  Cabinet  of  the  Institute.  If  you  will  have  the  goodness 
to  have  the  portrait  sent  to  the  Hall  of  the  Institute  with  a line  to  the 


THE  NATIONAL  GALLERY  OF  ART 


37 


Curator  Dr.  King,  stating  that  it  is  a present  of  wh.  full  information  has 
been  given  me,  I will  present  it  in  your  name  at  the  next  stated  meeting. 

I am  authorized  to  express  to  you  the  thanks  of  the  Institute  for  so  inter- 
esting a donation  & to  assure  you  that  your  wishes  in  respect  to  it  shall  be 
executed. 

Unless  forbidden  by  you  Mr.  Gales  will  give  publicity  to  your  letter  in 
the  columns  of  the  Intelligencer. 

I am  dear  sir,  with  great  respect,  yr  very  obt.  svt., 

F.  Markoe,  jr. 

Corr.  Secy.  N.  I. 


PORTRAITS  OF  WASHINGTON,  JEFFERSON,  ADAMS,  AND  MON- 
ROE. By  Gilbert  Stuart. 

According  to  the  diary  of  John  Varden,  custodian,  these  pictures 
were  received  at  the  Institute  on  July  15,  1857.  They  are  also 
mentioned  in  Hunter’s  catalogue,  edition  of  1859,  p.  36. 

FUEL  LENGTH  PORTRAIT  OF  ANDREW  JACKSON.  By  Thomas 
Sully. 

This  portrait  was  received  at  the  National  Institute  June  24, 
1857- 

PORTRAIT  OF  ANDREW  JACKSON  in  the  Uniform  of  a Major 
General,  U.  S.  Army.  By  R.  E.  W.  Earl. 

Donated  by  Major  William  H.  Chase,  U.  S.  Engineers,  1844. 
This  painting  bears  the  signature  of  the  artist  as  above  and  the 
date  1836.  He  may  possibly  have  been  the  Ralph  Earle  who 
married  a niece  of  Andrew  Jackson,  and  was  for  a time  a mem- 
ber of  the  President’s  household  in  Washinton.  It  is  recorded 
that  he  painted  a portrait  of  the  President.  The  picture  is 
now  in  the  National  Museum.  It  measures  35JJ  inches highand 
27 inches  wide.  The  letter  of  presentation  is  as  follows: 

To  Francis  MarkoB,  Jr.,  Esquire, 

Corr.  Secretary  of  the  National  Institution  at  Washington. 

Sir:  I have  the  honor  to  offer  for  the  acceptance  of  the  Institution,  a 
portrait,  painted  by  Earl,  of  the  ex  President  Jackson. 

This  portrait  was  taken  in  the  last  year  of  the  President’s  administration. 
He  appears  in  the  uniform  of  a Major  General  of  the  Army,  and  which,  by 
the  President’s  order  to  the  army  some  years  previously,  was  made  to  cor- 
respond with  that  worn  by  the  Generals  of  the  Revolution. 

The  painting  (though  not  a specimen  of  excellence  in  the  art  is  tolerable, 
and)  is  expressive  of  the  character  of  the  distinguished  original.  Intellect 
of  a superior  order  is  strongly  exhibited,  in  which  judgment  and  firmness 


38 


THE  NATIONAL  GALLERY  OF  ART 


prevail.  His  noble  bearing  shows  a truth-seeking,  an  honor-loving;  and  a 
patriotic-feeling  man.  He  holds  in  his  hand  the  sword  that  was  never 
drawn  save  for  his  country’s  defence.  (His  devotion  and  success  on  this 
score  even  his  political  opponents  admit.) 

If  this  offer  to  the  Institution,  most  respectfully  made,  be  accepted,  I 
will  without  cost  or  charge  place  the  portrait  in  its  Hall. 

I have  the  Honor  to  be,  Sir,  most  respectfully  your  obdnt  & humble  servt. 

Wm.  H.  Chase 
Major  of  Engrs. 

Chasefield  near  Pensacola, 

Febry.  4th,  1844. 

PORTRAIT  OF  THOMAS  CORWIN,  Secretary  of  the  Treasury 
under  President  Fillmore.  By  J.  M.  Stanley. 

Presented  to  the  Institute  by  the  personal  friends  of  Mr. 
Corwin  in  Washington. 

PORTRAIT  OF  ZADOK  PRATT,  Representative  in  Congress, 
1837-39  and  1843-45.  Fy  Unknown  Artist. 

This  portrait,  a full  length,  was  cited  in  the  earlier  catalogue 
of  Alfred  Hunter  as  with  the  collections  of  the  Institute.  In 
the  catalogue  of  1859  it  was  said  to  be  hanging  in  the  Patent 
Office. 

PORTRAIT  OF  CARDINAL  M AZARIN.  (?)  By  Unknown  Artist. 

This  painting  was  acquired  with  the  collection  of  John 
Varden,  by  whom  it  was  described  as  the  portrait  of  a bishop. 
On  what  authority  it  was  named  as  above  in  the  catalogue  of 
the  Institute  is  not  disclosed  by  the  records.  It  measures  45 
inches  high  by  36  inches  wide,  and  is  now  in  the  possession  of 
the  National  Museum. 

PORTRAIT  OF  MAHMUD  I.  Sultan  of  Turkey,  1730-1754.  By 

Unknown  Artist. 

Donated  to  the  Institute,  November  1,  1842,  by  Mrs.  Rodgers, 
widow  of  Commodore  John  Rodgers,  U.  S.  Navy. 

PORTRAIT  OF  ABDUL-MEJID  KHAN,  Sultan  of  Turkey, 
1839—1861.  By  Unknown  Artist. 

Donated  by  George  A.  Porter,  U.  S.  Consul  at  Constantinople, 
in  the  following  letter : 


THE  NATIONAL  GALLERY  OF  ART 


39 


Constantinople,  October  18, 1843. 

Mr.  Francis  Markoe,  Jr. 

Secretary  of  the  National  Institute. 

Sir:  I have  the  honor  to  forward  you  for  the  National  Institute,  a por- 
trait of  the  now  reigning  Sovereign  of  the  Ottoman  Empire,  Sultan  Abdul- 
Mejid  Khan,  which  I beg  you  to  accept  of  for  that  Institution,  as  it  is  prob- 
ably the  only  one  of  his  portraits  ever  sent  to  the  United  States.  It  is 
considered  an  excellent  likeness. 

I have  the  honor  to  be  with  much  respect,  your  obt.  servt. 

George  A.  Porter. 

This  picture  was  entered  in  the  records  under  date  of  January 
8,  1844,  at  which  time  it  was  probably  received  by  the  Institute. 

PORTRAIT  OF  DON  VINCENTE,  President  of  Mexico.  By 
Unknown  Artist. 

PORTRAIT  OF  WILLIAM  WHEELWRIGHT. 

Presented  by  Commodore  J.  H.  Aulick,  U.  S.  Navy,  August 
19,  1845.  This  was  a lithographic  copy  of  a painting  executed 
at  the  expense  of  the  commercial  community  of  Valparaiso, 
Chili,  and  hung  in  the  Exchange  of  that  city.  According  to 
Commodore  Aulick,  Mr.  Wheelwright  was  the  first  to  introduce 
steam  navigation  in  the  Pacific  Ocean. 

Miscellaneous  Paintings,  etc, 

JOB  AND  HIS  COMFORTERS.  By  Jose  de  Ribera  ( Spagnoletlo ). 

Presented  by  Dr.  Robert  W.  Gibbes,  of  Columbia,  S.  C., 
through  Mr.  Poinsett,  as  indicated  in  the  following  letter : 

Charleston,  S.  C.,  Dec.  3,  1841. 

My  dear  Sir:  In  passing  through  Columbia  on  my  way  from  the  moun- 
tains, I received  from  Dr.  Gibbes  of  that  place  a valuable  painting  which 
he  desires  to  present  to  the  National  Institution.  It  is  doubtless  an  origi- 
nal, probably  by  Spagnoletto.  The  subject  Job  in  his  affliction  surrounded 
by  his  Comforters.  Either  Mr.  King  or  Mr.  Chapman  could  restore  it  to  its 
pristine  beauty.  I think  either  would  take  pleasure  in  bringing  out  all 
the  excellencies  of  this  fine  picture.  It  will  be  forwarded  to  Capt.  Dusen- 
berry  at  Baltimore  and  is  directed  to  you  in  Washington.  I hope  the  Capt. 
will  send  it  by  some  careful  person,  as  it  is  merely  rolled  up  and  sewed 
around  in  cloth. 

With  great  regard,  I am  Dear  Sir,  ever  yours  truly, 

J.  R.  Poinsett 

Col.  J.  J.  Abert,  U.  S.  A., 

Chief  Top.  Bureau,  Washington,  D.  C. 


40 


THE  NATIONAL  GALLERY  OF  ART 


In  a letter  dated  December  30,  1841,  Doctor  Gibbes  speaks 
of  the  artist  definitely  as  Spagnoletto.  This  picture  was  turned 
over  to  Mr.  Chapman  for  repair,  as  suggested  by  Mr.  Poinsett, 
and  on  January  27,  1842,  the  Secretary  of  the  Institute  wrote 
to  Doctor  Gibbes:  “On  receiving  your  letter,  in  addition  to  the 
steps  taken  as  mentioned  above,  I called  on  Mr.  Chapman,  the 
artist  in  whose  hands  the  painting  had  been  placed,  and  learned 
from  him  that  it  was  a superb  work  and  in  Spagnoletto’s  best 
style;  that  it  was  somewhat  hurt  by  being  too  tightly  rolled; 
that  he  would  repair  the  canvas  on  the  back  part,  but  would 
not  think  of  trying  to  restore  the  injured  parts  of  the  picture, 
which  was  too  valuable  in  itself  to  justify  such  an  attempt.  . . . 

It  is  a treasure  and  by  far  the  most  distinguished  contribution 
which  has  been  presented  to  the  Institution  by  an  individual.” 

This  painting  is  now  preserved  in  the  National  Museum.  It 
measures  53%  inches  high  by  75  inches  wide. 

VIEW  OF  CONSTANTINOPLE  FROM  PERA,  Showing  in  the  Fore- 
ground a Turkish  Procession  Repairing  to  the  Mosque  of 
St.  Sophia.  By  Unknown  Artist. 

Presented  by  Thomas  Lloyd  Halsey.  Writing  to  Mr.  Poinsett 
from  Paris,  June  18,  1844,  Mr.  Halsey  states:  “At  the  sale  of 
Cardinal  Fesch  s paintings  at  Rome,  I purchased  a view  of 
Constantinople  taken  from  Pera,  which  I left  at  Rome  to  the 
care  of  Mr.  Luther  Terry,  an  American  painter  there  established, 
to  be  delivered  to  your  order,  intended  as  a present  to  the 
National  Institute  at  Washington.  It  is  considered  a good 
painting,  and  as  far  as  I can  judge  is  generally  correct;  it  has  a 
rich  frame  and  is  about  16  feet  long  by  4 feet  broad.”  The 
actual  dimensions  of  the  canvas  are  26 inches  high  by  155 
inches  wide.  This  picture  was  apparently  brought  to  the 
United  States  by  a naval  vessel,  and  reached  Washington  the 
latter  part  of  1845.  It  is  now  in  the  National  Museum. 

In  a fruitless  search  for  the  name  of  the  painter  of  this  pic- 
ture, it  has  been  ascertained  that  a catalogue  of  the  collection 
of  Cardinal  Fesch  was  prepared  in  Italian,  though  it  was  ap- 
parently not  printed.  A French  translation,  however,  was  pub- 
lished, and  for  the  following  citation  from  it  the  writer  is  in- 
debted to  Mr.  Alan  S.  Cole,  of  the  Victoria  and  Albert  Museum, 
London,  which  possesses  a copy.  The  volume  is  entitled,  “ Cata- 


THE  NATIONAL  GALLERY  OF  ART 


41 


logue  des  tableaux  composant  la  galerie  de  feu  son  eminence  le 
Cardinal  Fesch.  Rome,  1841,  imprimerie  de  Joseph  Salviucci 
et  fils.”  4to.,  iv  and  132  pages.  The  total  number  of  pictures 
enumerated  is  3332.  This  painting  is  No.  2731  of  the  catalogue 
and  is  described  as  follows:  “La  Cavalcade  du  Grand  Seigneur 
autour  de  Constantinople.  Les  personnages  sont  tres  petits,  et 
traites  avec  beaucoup  d’esprit  et  d’exactitude.” 

GENERAL  MARION  GIVING  DINNER  TO  A BRITISH  OFFICER. 
By  Lieut.  Henry  C.  Flagg,  U.  S.  Navy. 

Presented  by  the  artist.  Writing  to  the  Corresponding  Sec- 
retary of  the  Institute  from  the  U.  S.  Receiving  Ship  Franklin , 
Boston  Navy  Yard,  April  24,  1849,  Lieutenant  Flagg  states: 
“Your  communication  dated  the  2nd  of  April  has  just  come  to 
hand.  In  answer  I have  to  say  that  I feel  honored  by  the  ac- 
ceptance of  my  picture  by  the  Institute.  The  picture  will  be 
forwarded  as  directed  as  soon  as  practicable.”  Its  receipt  is 
entered  in  the  records  of  the  Institute  under  date  of  May  21, 
1849. 

CATTLE  PIECE,  PEASANTS,  ETC.  By  Nicolas  Berghem  ( Berchem ). 

This  picture  was  among  the  effects  of  James  Smithson  re- 
ceived in  Washington  and  was  temporarily  deposited  with  the 
National  Institute.  It  is  now  in  the  Smithsonian  Institution. 

MASSACRE  OF  THE  INNOCENTS.  By  Unknown  Artist. 

This  was  one  of  the  paintings  acquired  with  the  collection  of 
John  Varden.  In  the  catalogue  of  the  National  Institute  it  was 
attributed  to  Raphael  d’Urbino,  but  on  what  authority  is  not 
stated.  It  is,  in  fact,  only  a part  of  a larger  painting  from  which 
it  has  evidently  been  cut,  and  contains  four  figures,  two  of 
adults  and  two  of  children.  The  canvas,  now  in  the  National 
Museum,  is  much  worn  and  the  surface  more  or  less  defaced. 
The  painting  is  apparently  of  Italian  origin,  and  of  some  merit. 
It  measures  4 7%  inches  high  by  37  inches  wide. 

A TURKISH  BATTLE  PIECE.  By  Unknown  Artist. 

This  painting  received  from  John  Varden,  who  obtained  it 
from  J.  H.  Caldwell,  is  now  in  the  National  Museum.  It  meas- 
ures 29  inches  high  by  51^  inches  wide. 


42 


THE  NATIONAL  GALLERY  OF  ART 


PEASANTS.  By  Unknown  Artist. 

This  painting  is  briefly  described  in  Alfred  Hunter’s  catalogue 
of  the  National  Institute,  1855,  page  52,  where  it  is  attributed 
to  Teniers.  Its  origin  is  not  given. 

“A  FINE  OLD  ITALIAN  PAINTING.  Architectural  Piece  with 
Figures  After  the  Manner  of  Claude  Loraine.” 

The  above  title,  without  description,  is  given  in  Hunter’s 
catalogue,  but  no  reference  to  the  picture  has  been  found  in 
any  other  records  of  the  Institute. 

FOUR  LANDSCAPES,  One  Winter  Scene,  and  One  Marine  View. 

These  paintings,  mentioned  in  Hunter’s  catalogue  of  1855, 
were  lent  to  the  Institute  by  Mr.  Joseph  Gales,  of  Washington, 
to  whom  they  were  returned  in  1856. 

PAINTING  OF  A CHINESE  VILLAGE. 

From  the  collection  of  John  Varden. 

CUPID.  A Painting. 

Listed,  without  explanation,  in  Hunter’s  catalogue. 

BACCHANALIAN  CUPIDS  Gathering  Grapes  for  the  Wine  Press 
and  Other  Fruits;  Emblematic  of  Peace  and  Plenty. 

The  character  of  this  picture,  except  as  suggested  in  the 
above  title,  is  not  indicated  in  Hunter’s  catalogue. 

THE  LAST  SUPPER.  Engraving  by  Dick  of  the  painting  by  Leonardo 
da  Vinci. 

GREEKS  DEFENDING  MISSOLONGHI.  A small  print. 

Paintings  of  Indians 

A large  number  of  portraits  of  American  Indians  were  exhib- 
ited in  the  museum  of  the  Institute,  where  they  were  deposited 
by  the  Secretary  of  War  in  June,  1841.  They  belonged  to  the 
Government,  for  which  they  had  been  painted  by  Charles  B. 
King,  a pupil  of  Benjamin  West,  and  two  or  three  other  artists. 
The  names  of  only  a few  of  the  pictures  are  mentioned  in  the 
records  of  the  Institute,  but  in  connection  with  the  Smithsonian 
Institution,  to  which  they  were  transferred  in  1858,  it  has  been 
possible  to  account  for  the  entire  collection. 


THE  NATIONAL  GALLERY  OF  ART 


43 


Busts  a 


ROBERT  BURNS,  Poet. 

J.  C.  CALHOUN,  American  Statesman.  By  Clark  Mills. 

HENRY  CLAY,  American  Statesman.  By  F.  Pettrich.  Presented  by 
the  sculptor,  September  12,  1842. 

BARON  CUVIER,  French  Naturalist.  By  Louis  Parfait  Merlieux, 
Paris.  Presented  by  Dr.  R.  Harlan,  of  Philadelphia,  February  14, 
1842. 

MISS  GERTRUDE  FAIRFIELD,  of  Washington.  By  Clark  Mills. 

PETER  FORCE,  Mayor  of  Washington,  1836-1840,  and  President 
of  the  National  Institute  for  several  years. 

JOHN  FORSYTH,  Secretary  of  State  under  President  Van  Buren. 

MISS  KATE  HAMPTON,  Granddaughter  of  General  Wade  Hamp- 
ton of  the  Revolution.  By  Clark  Mills. 

ANDREW  JACKSON,  President  of  the  United  States,  1828-1836. 

AMOS  KENDALL,  Member  of  President  Jackson’s  Cabinet. 

DIXON  H.  LEWIS,  U.  S.  Senator  from  Alabama,  1844-1847. 

GEORGE  McDUFFIE,  u.  S.  Senator  from  South  Carolina,  1842- 
1847.  By  Clark  Mills. 

CLARK  MILLS,  Sculptor,  1815-1883. 

NAPOLEON.  (Miniature  bust.) 

WILLIAM  NORRIS,  Locomotive  and  Engine  Builder  of  Philadel- 
phia. By  F.  Pettrich.  Presented  by  the  sculptor,  September  12, 
1842. 

JOEL  R.  POINSETT,  Secretary  of  War,  1834-1840,  and  First  Pres- 
ident of  THE  National  Institute.  In  marble.  By  F.  Pettrich. 
Presented  by  Mrs.  Poinsett,  June  13,  1842.  A plaster  bust,  probably  . 
a copy  of  the  same,  was  given  to  the  Institute  by  Mr.  Pettrich  in  the 
same  year. 

WILLIAM  C.  PRESTON,  U.  S.  Senator  from  South  Carolina,  1833- 

1843- 

JOHN  C.  SPENCER,  Secretary  of  State,  of  War  and  of  the  Treas- 
ury, 1839-1844.  Presented  by  Col.  J.  J.  Abert,  U.  S.  Army,  July 
10,  1843. 

ZACHARY  TAYLOR,  President  of  the  United  States,  1849-1850. 

WILLIAM  THORNTON,  Superintendent,  U.  S.  Patent  Office,  1801- 
1829. 

MARTIN  VAN  BUREN,  President  of  the  United  States,  1836-1840 
By  F.  Pettrich. 

JOHN  VAUGHAN,  of  Philadelphia.  Died  January  1, 1842.  Presented 
by  Jacob  Snider,  Jr.,  November  14,  1842. 

GEORGE  WASHINGTON.  Presented  by  Miss  E.  C.  Gallaudet. 

LEVI  WOODBURY,  Secretary  of  the  Navy  and  of  the  Treasury, 
1831-1841. 


“ In  plaster  unless  otherwise  stated. 


44 


THE  NATIONAL  GALLERY  OF  ART 


Statuary,  models,  etc. a 

HEAD  OF  SAINT  CECILIA.  By  Thorwaldsen.  In  marble.  Among  the 
effects  of  Smithson  brought  to  Washington.  Temporarily  deposited 
in  the  museum  of  the  National  Institute. 

STATUE  OF  WASHINGTON,  Represented  in  the  Act  of  Resigning 
His  Commission  as  Commander  of  the  Continental  Forces. 
By  F.  Pettrich.  Presented  by  the  sculptor,  July  n,  1842. 

STATUETTE  OF  ANDREW  JACKSON  ON  HORSEBACK.  By  Clark 
Mills.  This  is  not  a miniature  copy  of  the  statue  in  Lafayette 
Square,  Washington,  but  the  original  model  submitted  to  a commit- 
tee of  Congress. 

FIGURE  OF  DANIEL  O’CONNELL,  the  Great  Liberator. 

APOLLO  BELVIDERE.  A small  copy  in  marble. 

A Reclining  Figure,  Representing  the  “ BROKEN  HEART.” 

BUST  OF  CERES.  In  porphyritic  marble,  from  Pompeii. 

BUST  OF  BACCHUS.  In  high  relief.  From  Pompeii. 

Several  models  by  F.  Pettrich,  entitled  THE  YOUNG  HUNTER,  THE 
FISHER  GIRL,  THE  FISHERMAN’S  DAUGHTER,  SLEEPING 
CHILD,  and  SLEEPING  INNOCENCE,  a group  emblematic  of 
WISDOM  GUIDED  BY  JUSTICE,  and  another  representing  the 
GENIUS  OF  AMERICA,  AND  JUSTICE,  THE  AVENGER. 

a In  plaster  unless  otherwise  stated. 


THE  SMITHSONIAN  INSTITUTION  AND  U.  S. 
NATIONAL  MUSEUM 

ORGANIZATION,  PLANS,  AND  BUILDING 

By  the  Act  of  the  Congress  of  the  United  States  approved 
August  io,  1846,  establishing  the  Smithsonian  Institution,  it 
was  provided : 

“That,  so  soon  as  the  Board  of  Regents  shall  have  selected  the 
said  site  [for  a building],  they  shall  cause  to  be  erected  a suitable 
building,  of  plain  and  durable  materials  and  structure,  without 
unnecessary  ornament,  and  of  sufficient  size,  and  with  suitable 
rooms  or  halls,  for  the  reception  and  arrangement,  upon  a 
liberal  scale,  of  objects  of  natural  history,  including  a geological 
and  mineralogical  cabinet;  also  a chemical  laboratory,  a library, 
a gallery  of  art,  and  the  necessary  lecture  rooms”,  etc.; 

And  also  farther, 

“That,  in  proportion  as  suitable  arrangements  can  be  made 
for  their  reception,  all  objects  of  art  and  of  foreign  and  curious 
research,  and  all  objects  of  natural  history,  plants,  and  geo- 
logical and  mineralogical  specimens,  belonging  or  hereafter  to. 
belong,  to  the  United  States,  which  may  be  in  the  city  of  Wash- 
ington, in  whosesoever  custody  the  same  may  be,  shall  be  de- 
livered to  such  persons  as  may  be  authorized  by  the  Board  of 
Regents  to  receive  them,  and  shall  be  arranged  in  such  order, 
and  so  classed,  as  best  to  facilitate  the  examination  and  study 
of  them,  in  the  building  so  as  aforesaid  to  be  erected  for  the 
institution,”  etc. 

Immediately  upon  the  organization  of  the  Board  of  Regents, 
in  September,  1846,  a committee  from  its  membership  was  ap- 
pointed to  digest  a plan  for  carrying  out  the  provisions  of  this 
act.  The  committee’s  report,  submitted  on  January  25,  1847, 
contained  the  following  recommendations  on  the  subject  of  the 
fine  arts: 

“The  gallery  of  art,  your  committee  think,  should  include 
both  paintings  and  sculpture,  as  well  as  engravings  and  archi- 

45 


46 


THE  NATIONAL  GALLERY  OF  ART 


tectural  designs ; and  it  is  desirable  to  have  in  connexion  with  it 
one  or  more  studios,  in  which  young  artists  might  copy  without 
interruption,  being  admitted  under  such  regulations  as  the 
board  may  prescribe.  Your  committee  also  think  that  as  the 
collection  of  paintings  and  sculpture  will  probably  accumulate 
slowly,  the  room  destined  for  a gallery  of  art  might  properly  and 
usefully  meanwhile  be  occupied  during  the  session  of  Congress 
as  an  exhibition  room  for  the  works  of  artists  generally;  and  the 
extent  and  general  usefulness  of  such  an  exhibition  might  prob- 
ably be  increased,  if  an  arrangement  could  be  effected  with  the 
Academy  of  Design,  the  Arts  Union,  the  Artists’  Fund  Society, 
and  other  associations  of  similar  character,  so  as  to  concentrate 
at  the  Metropolis,  for  a certain  portion  of  each  winter,  the  best 
results  of  talent  in  the  fine  arts.” 

Consideration  of  the  full  report  of  this  committee  led  the 
Board  of  Regents  to  adopt  a number  of  resolutions,  of  which  the 
two  here  quoted  relate  to  the  fine  arts : 

“Resolved,  That  it  is  the  intention  of  the  act  of  Congress  estab- 
lishing the  institution,  and  in  accordance  with  the  design  of  Mr. 
Smithson,  as  expressed  in  his  will,  that  one  of  the  principal 
modes  of  executing  the  act  and  the  trust  is  the  accumulation 
of  collections  of  specimens  and  objects  of  natural  history  and 
of  elegant  art,  and  the  gradual  formation  of  a library  of  valu- 
able works  pertaining  to  all  departments  of  human  knowledge, 
to  the  end  that  a copious  storehouse  of  materials  of  science,  lit- 
erature, and  art  may  be  provided,  which  shall  excite  and  diffuse 
the  love  of  learning  among  men,  and  shall  assist  the  original 
investigations  and  efforts  of  those  who  may  devote  themselves 
to  the  pursuit  of  any  branch  of  knowledge. 

“Resolved,  That  for  the  purpose  of  carrying  into  effect  the  two 
principal  modes  of  executing  the  act  and  trust  pointed  out  in  the 
resolutions  herewith  submitted,  the  permanent  appropriations 
out  of  the  accruing  interest  shall,  so  soon  as  the  buildings  are 
completed,  be  annually  as  follows,  that  is  to  say : 

“First,  for  the  formation  of  a library  composed  of  valuable 
works  pertaining  to  all  departments  of  useful  knowledge,  and 
for  the  procuring,  arranging,  and  preserving  of  the  various  col- 
lections of  the  institution,  as  well  of  natural  history  and 
objects  of  foreign  and  curious  research  and  of  elegant  art  as 


THE  NATIONAL  GALLERY  OF  ART 


47 


others,  including  salaries  and  all  other  general  expenses  con- 
nected with  the  same,  excepting  those  of  the  first  complete 
arrangement  of  all  such  collections  and  objects  as  now  belong 
to  the  United  States  in  the  museum  of  the  institution,  when 
completed,  together  with  one-half  of  the  salary  of  the  Secretary, 
the  sum  of  fifteen  thousand  dollars.” 

The  second  and  final  clause  of  this  resolution  provided  that 
the  remainder  of  the  annually  accruing  interest  should  be  ap- 
plied to  the  other  objects  of  the  Institution,  namely,  researches, 
publications,  lectures,  etc.  It  should  be  noted  here,  however, 
that  the  proportional  division  of  the  income  between  the  “two 
principal  modes  of  executing  the  act  and  trust,”  as  above  di- 
rected, was  subsequently  changed,  and  that  later  the  Govern- 
ment began  to  provide  for  the  expenses  of  the  museum  feature. 

During  the  year  1847,  in  accordance  with  the  instructions  of 
the  Board  of  Regents,  Secretary  Joseph  Henry  prepared  a 
Programme  of  Organization  of  the  Smithsonian  Institution, 
which  was  presented  on  December  8 and  provisionally  adopted 
on  the  13th  of  the  same  month.  This  programme,  divided  into 
two  sections,  covered  the  entire  scope  of  the  proposed  activities 
of  the  Institution.  As  explained  by  Secretary  Henry : 

“The  first  section  of  the  programme  gives  the  details  of  the 
plan  proposed  for  the  increase  and  diffusion  of  knowledge  by 
means  of  publications  and  original  researches.  The  second 
section  furnishes  the  details,  so  far  as  they  can  be  made  out  at 
the  present  time,  of  the  formation  of  a library,  and  a collection 
of  objects  of  nature  and  art.  These  two  plans  combined,  em- 
brace the  general  propositions  adopted  by  the  Board  of  Regents 
at  their  last  meeting,  as  the  basis  of  future  operations.  It  is 
intended  in  the  proposed  plan  to  harmonize  the  two  modes  of 
increasing  and  diffusing  knowledge,  and  to  give  to  the  institu- 
tion the  widest  influence  compatible  with  its  limited  income. 
That  all  the  propositions  will  meet  with  general  approval  can 
not  be  expected ; and  that  this  organization  is  the  best  that  could 
be  devised  is  neither  asserted  nor  believed.  ...  It  is  not  in- 
tended that  the  details  of  the  organization,  as  given  in  the  pro- 
gramme, should  be  permanently  adopted  without  careful  trial; 
they  are  rather  presented  as  suggestions  to  be  adopted  pro- 
visionally, and  to  be  carried  into  operation  gradually  and 


21394°— 10 


48 


THE  NATIONAL  GALLERY  OF  ART 


cautiously,  with  such  changes,  from  time  to  time,  as  experience 
may  dictate.” 

Among  the  subjects  which  Secretary  Henry  enumerates  as  ap- 
propriate to  be  embraced  in  the  publications  of  the  Institution, 
for  diffusing  knowledge,  are  “the  fine  arts  and  their  application 
to  the  useful  arts.” 

“The  second  section  of  the  programme,”  in  the  words  of 
Secretary  Henry,  “gives,  so  far  as  they  have  been  made  out,  the 
details  of  the  part  of  the  plan  of  organization  directed  by  the 
act  of  Congress  establishing  the  institution.  The  two  plans, 
namely,  that  of  publication  and  original  research,  and  that  of 
collections  of  objects  of  nature  and  art,  are  not  incompatible, 
and  may  be  carried  on  harmoniously  with  each  other.  The 
only  effect  which  they  will  have  on  one  another  is  that  of  limit- 
ing the  operation  of  each,  on  account  of  the  funds  given  to  the 
other.  Still,  with  a judicious  application,  and  an  economical 
expenditure  of  the  income,  and  particularly  by  rigidly  observing 
the  plan  of  finance,  suggested  by  Dr.  Bache,  in  the  construction 
of  the  building,  much  good  may  be  effected  in  each  of  the  two 
branches  of  the  institution.  . . . 

“The  collections  of  the  institution,  as  far  as  possible,  should 
consist  of  such  articles  as  are  not  elsewhere  to  be  found  in  this 
country,  so  that  the  visitors  at  Washington  may  see  new 
objects,  and  the  spirit  of  the  plan  be  kept  up,  of  interesting  the 
greatest  possible  number  of  individuals.  A perfect  collection 
of  all  objects  of  nature  and  of  art,  if  such  could  be  obtained  and 
deposited  in  one  place,  would  form  a museum  of  the  highest  in- 
terest; but  the  portion  of  the  income  of  the  bequest  which  can 
be  devoted  to  the  increase  and  maintenance  of  the  museum  will 
be  too  small  to  warrant  any  attempt  toward  an  indiscriminate 
collection.  It  is  hoped  that  in  due  time  other  means  may  be 
found  of  establishing  and  supporting  a general  collection  of 
objects  of  nature  and  art  at  the  seat  of  the  general  government, 
with  funds  not  derived  from  the  Smithsonian  bequest.  For  the 
present,  it  should  be  the  object  of  the  institution  to  confine  the 
application  of  the  funds,  first,  to  such  collections  as  will  tend 
to  facilitate  the  study  of  the  memoirs  which  may  be  published 
in  the  Contributions,  and  to  establish  their  correctness; 
secondly  to  the  purchase  of  such  objects  as  are  not  generally 


ORIGINAL  FLOOR  PLANS,  SMITHSONIAN  BUILDING.  THE  TWO  ROOMS  ON  THE  FIRST  FLOOR  MARKED 
WERE  THOSE  DESIGNED  FOR  THE  GALLERY  OF  ART 

(See  pages  7 and  50) 


THE  NATIONAL  GALLERY  OF  ART 


49 


known  in  this  country,  in  the  way  of  art,  and  the  illustration  of 
antiquities,  such  as  models  of  buildings,  &c. ; and,  thirdly,  to 
the  formation  of  a collection  of  instruments  of  physical  research. 

“Much  popular  interest  may  be  awakened  in  favor  of  the  in- 
stitution at  Washington,  by  throwing  the  rooms  of  the  building 
open,  on  stated  evenings  during  the  session  of  Congress,  for 
literary  and  scientific  assemblies,  after  the  manner  of  the  weekly 
meetings  of  the  Royal  Institution  in  London.  At  these  meet- 
ings, without  the  formality  of  a regular  lecture,  new  truths  in 
science  may  be  illustrated,  and  new  objects  of  art  exhibited.” 

The  specific  suggestions  of  Professor  Henry  in  the  matter  of 
art,  though  favorably  considered  by  the  Board  of  Regents, 
could  not  be  carried  out,  except  in  a very  limited  way,  for  the 
reasons  he  sets  forth,  but  his  hope  that  a general  collection  of 
art  as  of  nature  might  come  to  be  supported  with  funds  derived 
from  another  source  than  the  Smithsonian  bequest  was  destined 
to  be  realized. 

A committee  from  the  Board  of  Regents  appointed  “to  obtain 
plans  for  the  erection  of  buildings,  fulfilling  all  the  conditions 
in  reference  to  them  contained  in  the  law  organizing  this  institu- 
tion,” on  November  30,  1846 — 

“unanimously  selected,  out  of  thirteen  plans  that  were  sub- 
mitted to  them  by  some  of  the  principal  architects  throughout 
the  country,  two  by  Mr.  James  Renwick,  jr.,  of  the  city  of  New 
York,  the  architect  of  Grace  Church,  the  Church  of  the  Puritans, 
Calvary  Church,  and  other  structures  in  and  near  New  York; 
and  they  recommended  to  the  Board  for  adoption  one  of  these, 
being  a design  in  the  later  Norman,  or,  as  it  may,  with  more 
strict  propriety,  be  called,  the  Lombard  style,  as  it  prevailed 
in  Germany,  Normandy,  and  in  southern  Europe  in  the  twelfth 
century.  The  design  comprises  a center  building,  with  two 
wings,  connected  with  the  main  building  by  low  ranges  and  a 
cloister.  The  entire  front  is  421  feet,  and  the  extreme  depth  in 
the  center,  including  the  carriage  porch,  153  feet.  The  height 
of  the  principal  tower  is  145  feet,  and  that  of  the  main  building, 
to  the  summit  of  the  battlement,  58  feet.  The  design  includes 
all  the  accommodations  demanded  by  the  charter,  to  wit:  A 

museum,  200  feet  by  50;  a library,  90  feet  by  50;  a gallery  of  art, 


50 


THE  NATIONAL  GALLERY  OF  ART 


in  the  form  of  a T,  125  feet  long;  two  lecture  rooms,  one  of  which 
is  capable  of  containing  from  800  to  1 ,000  persons,  and  the  other 
is  connected  with  the  chemical  laboratory;  a committee  room 
for  the  Board  of  Regents;  a Secretary’s  room;  a room  for  the 
effects  of  Mr.  Smithson;  a janitor’s  room,  etc.” 

On  January  28,  1847,  the  Board  passed  several  resolutions 
regarding  the  construction  of  the  building,  among  which  were 
the  following: 

“That  the  Norman  plan  of  a building  for  the  Smithsonian 
Institution,  furnished  by  James  Renwick,  jr. , of  New  York,  sub- 
stantially as  amended  and  reduced  agreeably  to  the  suggestions 
of  the  committee,  is  approved  by  this  Board.” 

“That  the  building  committee  be  instructed  to  arrange  the 
contracts  for  the  buildings  of  the  institution  so  that  the  wings 
of  said  buildings  may  be  completed  in  two  years  from  the 
present  time,  and  the  whole  completed  in  five  years.” 

“That  the  building  committee  be  instructed,  in  the  arrange- 
ment of  the  building,  to  extend  the  gallery  of  art  throughout 
the  western  range  and  western  wing;  and  to  arrange  two  lecture 
rooms,  and  no  more,  in  the  building.  Temporary  arrangements 
shall  be  made  to  receive  in  the  west  wing  of  the  building  the 
library  of  the  institution  until  the  library  proper  be  completed.” 
A full  account  of  the  plans  and  construction  of  the  Smith- 
sonian building,  and  of  subsequent  alterations  was  given  in  the 
report  of  the  National  Museum  for  1903.®  The  two  rooms 
above  mentioned  as  being  assigned  to  the  gallery  of  art  com- 
prised the  entire  west  wing.  The  larger  of  these  rooms,  the 
more  western  one,  often  called  the  chapel,  because  of  its  archi- 
tectural features,  has  a high  groined  ceiling  and  measures,  not 
including  the  apse,  66  feet  7 inches  long  by  34  feet  9 inches  wide 
and  37  feet  8 inches  in  greatest  height.  The  other,  a connect- 
ing range,  between  the  west  hall  and  the  main  building,  is  60 
feet  by  37  feet.  These  halls,  completed  in  1852,  were,  however, 
never  entirely  used  for  art,  as  explained  farther  on.  The  library, 
in  accordance  with  the  resolution  of  the  Regents  already  quoted, 
was  temporarily  installed  in  the  former,  where  it  remained 

°The  United  States  National  Museum:  An  Account  of  the  Buildings 
occupied  by  the  National  Collections.  By  Richard  Rathbun.  Report, 
U.  S.  National  Museum  for  1903,  pp.  177-309,  plates  1-29. 


THE  LIBRARY,  AND  AT  PRESENT  FOR  GRAPHIC  ARTS. 
(See  page  50) 


THE  NATIONAL  GALLERY  OF  ART 


51 


until  its  transfer  to  the  Library  of  Congress  in  1866.  The  port- 
folios of  prints  and  other  art  volumes  were  kept  there,  and  a 
number  of  busts  were  arranged  upon  the  cases.  The  range  was 
fitted  up  as  a reading  room,  but  for  a time  contained  many 
paintings  and  other  art  objects. 

It  was  not  until  1855  that  the  main  section  of  the  building 
was  completed.  Its  upper  story,  measuring  200  feet  long  by 
50  feet  wide  and  29  feet  3 inches  high,  was  divided  into  three 
rooms,  the  middle  one,  about  100  feet  long,  being  furnished  and 
used  as  a lecture  hall.  Of  the  rooms  on  either  side,  each  50 
feet  square,  the  eastern  was  appropriated  to  a museum  of  appa- 
ratus, the  western  to  art  purposes.  The  latter,  generally  spoken 
of  as  the  gallery  of  art,  was  mainly  occupied  by  Indian  paint- 
ings, including  the  famous  Stanley  collection  and  a large  series 
made  for  the  Government.  The  Regents’  room,  on  the  corre- 
sponding floor  of  the  south  tower,  also  contained  a few  paint- 
ings. A disastrous  fire  in  January,  1865,  burned  out  the  entire 
second  floor  and  both  main  towers,  destroying  their  contents 
and  leaving  of  the  art  collections  practically  only  such  objects 
as  were  displayed  on  the  main  floor.  The  loss  and  disarrange- 
ments thus  occasioned  had  a prolonged  effect  in  retarding  the 
development  of  the  department  of  art. 


NARRATIVE  HISTORY  OF  THE  ART  COLLECTIONS 
UNDER  THE  SMITHSONIAN  INSTITUTION 

1846,  1847 

CATLIN  INDIAN  GALLERY 

The  first  references  to  a specific  art  collection  in  the  records 
of  the  Institution  relate  to  Catlin’s  celebrated  series  of  por- 
traits and  other  paintings  of  North  American  Indians.  At  a 
meeting  of  the  Board  of  Regents  on  December  9,  1846,  “Mr. 
Seaton  presented  a communication  from  Mr.  George  Catlin, 
accompanied  by  a printed  catalogue  of  his  Indian  Gallery, 
offering  his  collection  of  Indian  memorials  to  the  Smithsonian 
Institution,  which  was  referred  to  the  Committee  on  the  for- 
mation of  a library.”  The  subject  was  again  brought  up  on 


52 


THE  NATIONAL  GALLERY  OF  ART 


March  i,  1847,  when  the  following  resolution  was  agreed  to  by 
the  Board: 

“Resolved,  That  it  being  understood  that  Mr.  George  Catlin 
is  about  to  return  to  this  country  with  his  collection  of  Indian 
paintings,  &c.,  he  be  requested  to  deposit  the  same  in  one  of 
the  galleries  of  the  Smithsonian  Institution,  as  soon  as  the 
building  shall  be  ready  for  its  reception,  provided  he  will  do  so 
without  charge  to  the  institution;  and  that  upon  such  deposit 
being  made,  said  institution  will  properly  arrange  and  prepare 
said  collection  for  exhibition.” 

It  may  be  noted  that  the  purchase  of  this  collection  for  the 
Institution  was  also  under  consideration  by  Congress  at  the 
same  time,  and  the  following  extract  from  the  official  records 
of  the  Senate  for  February  27,  1847,  is  especially  interesting 
to  quote  in  this  connection: 

‘‘Mr.  Clayton  stated  that  this  was  probably  the  last  oppor- 
tunity which  would  be  offered  for  obtaining  this  gallery  of 
paintings  perpetuating  the  lineaments  of  these  aborigines. 
He  would  not  now  go  into  the  merits  of  these  paintings.  They 
had  been  seen  by  all  the  Senators.  At  the  last  session  memo- 
rials had  been  presented  from  the  principal  artists  praying  that 
they  might  be  purchased  by  the  Government,  and  this  was  the 
last  opportunity.  They  were  about  six  hundred  in  number  and 
were  now  at  the  Louvre,  in  Paris,  where  they  met  with  un- 
qualified approbation.  It  was  provided  by  his  amendment 
that  they  were  not  to  be  purchased  unless  the  Smithsonian 
Institution  would  find  a place  for  them  in  their  gallery,  which 
he  understood  would  probably  be  done.  They  might,  perhaps, 
be  purchased  for  about  $50,000,  of  which  it  was  proposed  to 
pay  $5,000  annually.” 

The  Catlin  collection  was  exhibited  in  London  and  Paris,  as 
well  as  in  this  country  Begun  in  1829,  it  finally  numbered 
over  600  pictures,  including  portraits,  landscapes,  sporting 
scenes,  and  illustrations  of  amusements,  customs  and  religious 
ceremonies.  In  1852,  through  liberal  advances  made  to  Mr. 
Catlin,  to  satisfy  claims  growing  out  of  unfortunate  specula- 
tions, the  collection  came  into  the  possession  of  Mr.  Joseph 
Harrison,  jr. , of  Philadelphia,  by  whose  widow  it  was  presented 
to  the  U.  S.  National  Museum,  May  15,  1879.  Upon  reaching 


WEST  RANGE,  SMITHSONIAN  BUILDING,  DESIGNED  FOR  THE  GALLERY  OF  ART,  USED 
IN  THE  BEGINNING  AS  A READING  ROOM  AND  FOR  PAINTINGS,  AND  AT  PRESENT 
FOR  GRAPHIC  ARTS 


(See  page  50) 


* 


* 

- 


' 


THE  NATIONAL  GALLERY  OF  ART 


53 


the  Museum  it  was  assigned  to  the  department  of  ethnology, 
where  it  appropriately  belonged  and  where  it  has  ever  since 
been  installed  in  one  of  the  large  exhibition  halls  devoted  to 
the  subject  of  North  American  Indians.0 

MISCELLANEOUS 

In  his  report  for  1847,  the  assistant  secretary  of  the  Institu- 
tion in  charge  of  the  library  made  the  following  suggestions : 

“Another  subject  contemplated  in  the  programme  of  organi- 
zation, and  which  should  receive  immediate  attention,  is  the 
procuring  of  copies  of  some  of  the  most  celebrated  works  of  art. 
It  will  probably  be  best  to  confine  the  purchases  at  first  princi- 
pally to  plaster  casts  of  some  of  the  finest  specimens  of  ancient 
and  modern  statuary.  These  can  be  procured  very  cheap,  and 
convey,  of  course,  a perfect  representation  of  the  original.  I 
have  no  doubt  that  for  a public  institution,  and  one  under  na- 
tional auspices,  we  could,  whenever  we  desire  it,  obtain  per- 
mission to  take  casts  directly  from  the  statues. 

“The  expense  of  doing  so  would  of  course  be  somewhat 
greater  than  that  of  purchasing  such  copies  as  might  be  found  in 
the  market,  but  a small  difference  in  expense  is  not  to  be 
thought  of  in  such  a case  It  would  further  be  desirable  to 
commence  the  purchase  of  the  models  of  antiquities,  such  as 
models  in  cork  of  some  of  the  houses,  temples,  theatres,  baths, 
&c.,  &c.,  in  Pompeii  and  Herculaneum.  These  can  be  procured 
at  comparatively  small  prices.  Models  of  every  interesting  part 
of  Pompeii  which  has  been  excavated,  presenting  in  miniature 
a perfect  view  of  nearly  the  whole  on  the  scale  of  1 foot  to  150, 
might  be  procured  for  about  $2,000.  It  might  also  be  well  to 
procure  a few  Etruscan  vases;  also  a few  antique  coins  and 
medals,  sufficient  to  convey  some  illustration  of  numismatics, 
as  a subsidiary  branch  of  history.  The  Regents  should  of 
course  decide  what  proportion  of  the  appropriation  for  collec- 
tions should  each  year  be  expended  for  these  purposes.  I will 
merely  remark  that  $1,000,  or  even  $500  at  the  outset,  pru- 
dently expended,  would  procure  a very  interesting  collection.” 

a For  a complete  history  and  description  of  the  collection,  see  The  George 
Catlin  Indian  Gallery,  By  Thomas  Donaldson,  pp.  939,  with  144  plates. 
Appendix  to  the  Report  of  the  United  States  National  Museum  for  1885. 


54 


THE  NATIONAL  GALLERY  OF  ART 


In  the  same  year  an  offer  by  the  trustees  of  the  Philadelphia 
Bank  of  the  United  States  to  sell  208  portraits  of  Revolutionary 
worthies  and  other  distinguished  men  was  declined  by  the 
Board  of  Regents,  since  it  was  not  in  their  power,  consistently 
“with  the  existing  arrangements  and  obligations  to  apply  their 
funds  to  such  an  acquisition.” 

184.9 

MARSH  COLLECTION  OF  PRINTS 

In  1849  the  Institution  made  its  first  purchase  for  the  art 
department,  obtaining  from  the  Hon.  George  Perkins  Marsh, 
of  Vermont,  his  entire  “collection  of  theoretical,  historical, 
descriptive  and  critical  works  on  the  fine  arts,  of  galleries  and 
illustrated  works  (where  the  text  is  published  for  the  sake  of 
the  illustrations  of  fine  or  decorative  art),  and  of  engravings 
and  etchings.”  It  comprised  several  hundred  portfolios  and 
bound  volumes,  besides  some  separate  pieces.  The  amount 
paid  was  $3,000,  but  during  the  six  decades  which  have  since 
elapsed  the  value  of  the  collection  has  increased  many  fold. 
The  following  general  account  of  the  collection  is  from  the 
report  of  Mr.  C.  C.  Jewett,  assistant  secretary  in  charge  of  the 
library,  for  1850: 

“The  collection  of  engravings  and  works  upon  the  history 
of  art,  has  attracted  much  interest;  not  from  undiscriminating 
idlers,  but  from  men  of  taste,  and  particularly  from  artists. 
This  collection,  though  not  the  largest  in  the  country,  is  be- 
lieved to  be  the  choicest.  It  was  made  by  an  American  gentle- 
man, distinguished  as  a scholar  no  less  than  as  a statesman, 
with  the  special  design  of  illustrating  the  progress  and  resources 
of  the  art  of  engraving  in  all  its  branches,  from  its  early  masters 
to  the  present  time.  It  was  the  work  of  many  years  to  gather 
specimens,  so  rare  and  beautiful.  It  required  an  educated  eye, 
a cultivated  taste,  an  earnest  study  of  the  history  of  art,  much 
diligent  search,  and  the  aid  of  many  friends  and  correspondents, 
to  bring  together  so  many  of  the  most  valuable  prints  which 
have  ever  been  executed.  The  acquisition  of  this  collection 
has  saved  to  the  Institution  all  expenditure,  either  of  time  or 
money,  for  skill  and  labor  thus  bestowed.  The  saving  of 


THE  NATIONAL  GALLERY  OF  ART 


55 


money  can  not  but  seem  important  to  any  one  who  weighs  our 
means  against  our  wants,  and  the  gain  in  time  gives  a longer 
period  of  public  benefits. 

“This  collection  contains  some  of  the  best  works  of  nearly 
every  engraver  of  much  celebrity.  There  is  one  portfolio  of 
the  works  of  Albert  Diirer,  containing  twenty  engravings  on 
copper  and  two  on  iron,  by  his  own  hand,  and  among  them, 
most  of  his  best  and  rarest  works;  about  sixty  fine  copies  on 
copper,  including  the  famous  seventeen  by  Marc  Antonio; 
thirteen  different  portraits  of  Diirer,  and  a large  number  of 
wood  cuts  engraved  by  him  or  under  his  inspection.  Another 
portfolio  contains  a large  collection  of  the  etchings  of  Rem- 
brandt, including  some  of  his  most  beautiful  pieces,  particu- 
larly the  ‘Christ  Healing  the  Sick,’  an  early  and  fine  impression. 
There  is  a portfolio  of  two  hundred  engravings  and  etchings, 
by  Claude  Lorraine,  Hollar,  and  Eega;  a portfolio  of  superb 
portraits  by  Nanteuil,  Wille,  Edelink,  and  others,  among  them, 
a first  impression  of  the  ‘Louis  XIV  in  Armor,’  by  Nanteuil;  a 
portfolio  of  prints  from  the  old  Italian  masters,  comprising 
many  that  are  extremely  rare;  and  another  from  the  old  German 
masters,  containing  about  one  hundred  prints,  many  of  them 
scarce  and  of  great  beauty.  There  are  besides,  five  portfolios 
of  sheet  engravings,  including  very  choice  prints.  Among 
them  are  thirty-one  which  are  valued  by  Longhi,  at  fifteen 
hundred  dollars. 

“Among  the  galleries  and  published  collections,  are  the 
‘ Musee  Royal,’  in  two  volumes  folio,  proofs  before  the  letter, 
a superb  copy;  Denon’s  ‘Monumens  des  Arts  du  Dessin,’  in 
four  volumes  folio,  of  which  only  two  hundred  and  fifty  copies 
were  published;  Baillie’s  Works,  one  hundred  plates,  folio; 
Thorwaldsen’s  Works,  four  volumes,  folio;  Hogarth’s  Works, 
folio,  and  the  German  edition  in  quarto;  The  Boydell  Gallery, 
two  volumes,  folio;  Boydell’s  ‘Shakspeare  Gallery,’  a remark- 
ably good  copy,  containing  many  proofs  before  the  letter, 
numerous  etchings  and  several  progressive  plates;  Claude’s 
‘Liber  Veritatis,’  an  original  copy,  three  volumes,  folio; 
The  Houghton  Gallery,  two  volumes,  folio;  Chamberlain’s 
Drawings  in  the  Royal  Collection,  one  volume,  folio;  Rem- 
brandt’s Drawings,  one  volume,  quarto;  Da  Vinci’s  Drawings, 


56 


THE  NATIONAL  GALLERY  OF  ART 


one  volume,  quarto;  ‘Galerie  de  Florence;’  Angerstein  Gal- 
lery; Ancient  Sculpture,  by  the  Dilettanti  Society;  Perrault’s 
‘Hommes  Illustre;’  Sadeler’s  Hermits;  ‘Theuerdank,’  a fine 
copy  of  the  very  rare  edition  of  15x9;  Meyrick’s  Armour; 
Hope’s  Ancient  Costumes,  and  more  than  one  hundred  volumes 
besides,  mostly  in  folio  or  quarto,  either  composed  entirely  of 
valuable  engravings,  or  in  which  the  text  is  published  for  the 
sake  of  the  illustrations  of  fine  or  decorative  art. 

“The  collection  of  critical  and  historical  works,  in  the  various 
departments  of  the  fine  arts,  comprises  about  three  hundred 
volumes  of  the  best  works  in  the  English,  French,  German  and 
Italian  languages,  including  whatever  is  most  needed  by  the 
student  of  art  in  all  its  branches. 

“Engraving  seems  to  be  the  only  branch  of  the  fine  arts, 
which  we  can,  for  the  present,  cultivate.  One  good  picture  or 
statue  would  cost  more  than  a large  collection  of  prints.  The 
formation  of  a gallery  of  the  best  paintings,  is,  in  this  country, 
almost  hopeless.  Engravings  furnish  us  with  translations, 
authentic  and  masterly,  of  the  best  creations  of  genius  in  paint- 
ing and  sculpture,  the  originals  of  which  are  utterly  beyond  our 
reach.  Engraving,  too,  is  more  than  a mere  imitative  art. 
The  master’s  genius  shines  forth  from  some  of  the  free  and 
graceful  etchings  of  Rembrandt  almost  as  vividly  as  from  his 
canvas. 

“It  can  hardly  be  doubted,  that,  in  no  way,  could  this  Insti- 
tution, for  the  present,  do  so  much  for  every  department  of  the 
fine  arts,  without  injury  to  other  objects  of  its  care,  as  by  pro- 
curing a collection  of  engravings,  so  full  and  so  well  chosen  as 
that  which  now  adorns  its  Library.” 

1850 

In  this  year  a small  oil  portrait  of  the  founder  of  the  Institution 
in  the  costume  of  an  Oxford  student,  painted  when  he  was  prob- 
ably not  more  than  twenty  years  old,  was  purchased,  for  thirty 
guineas,  of  the  widow  of  John  Fitall,  a servant  of  Smithson  and  a 
beneficiary  under  his  will.  This  picture  has  been  reproduced  in 
several  of  the  publications  of  the  Institution.  It  may  also  be 
mentioned  here  that  the  Institution  already  possessed  a medal- 
lion of  the  head  of  Smithson,  in  copper,  taken  in  iater  life. 


THE  NATIONAL  GALLERY  OF  ART 


57 


A proposition  relating  to  the  promotion  of  architecture  was 
received  and  considered  by  the  Board  of  Regents,  the  plan  pro- 
viding, among  other  things,  that  designs  for  buildings  might  be 
sent  to  the  Institution,  and  those  of  a certain  degree  of  merit  be 
honored  with  a place  in  the  gallery  of  art.  The  only  definite 
action  on  the  subject  by  the  Board  was  in  the  form  of  a resolu- 
tion, as  follows:  “That  architects  be  invited  to  send  in  designs 
for  buildings,  and  that  notice  be  given  that  models  of  ancient  or 
modern  architecture  will  be  received  by  the  Smithsonian  Insti- 
tution, and  that  such  designs  or  models,  at  the  discretion  of  the 
Regents,  will  be  placed  in  the  Gallery  of  Art.”  No  advantage 
seems  to  have  been  taken  of  this  invitation. 

1852 

STANLEY  COLLECTION  OF  INDIAN  PAINTINGS 

This  important  series  of  Indian  portraits  and  scenes  by  J.  M. 
Stanley  was  deposited  by  the  artist  in  the  Smithsonian  Institu- 
tion in  1852.  Tike  the  Catlin  Gallery,  it  was  offered  for  sale  to 
the  Institution  and  the  Government,  but  its  purchase  was  never 
consummated.  It  consisted  of  one  hundred  and  fifty-two  can- 
vases, executed  between  1842  and  1852,  including  a portrait  of 
Stanley  by  A.  B.  Moore.  Subsequent  additions  were  said  to 
have  been  made  to  the  collection,  but  only  the  original  series 
was  described  in  the  catalogue  published  by  the  Institution. 
While  chiefly  of  ethnological  value,  the  pictures  were  considered 
to  have  considerable  artistic  merit. 

In  the  beginning  they  were  installed  in  the  west  hall  on  the 
main  floor  of  the  Smithsonian  building,  but  in  about  1855  they 
were  removed  to  the  western  part  of  the  second  floor,  which  had 
been  fitted  up  as  a gallery  for  paintings.  Commencing  with 
i860  an  annual  allowance  of  $100  was  made  to  Mr.  Stanley  by 
the  Institution  to  enable  him  to  pay  the  interest  on  a debt  which 
he  had  incurred  to  prevent  the  sacrifice  of  the  collection  by 
selling  the  pictures  separately;  and,  in  view  of  the  failure  of 
action  on  the  part  of  Congress,  Secretary  Henry  reported  in  1862, 
“that  it  might  become  a subject  of  consideration  with  the 
Regents  to  make  some  provisions  for  the  preservation  of  the 
collection  in  its  integrity,  since  otherwise  the  owner  may  be 


58 


THE  NATIONAL  GALLERY  OF  ART 


obliged  to  dispose  of  it  in  parts.”  The  Smithsonian  fire  of  1865 
destroyed  the  entire  collection,  with  the  exception  of  four  or  five 
pictures  which  had  been  hung  in  the  east  wing  of  the  building. 

In  most  of  the  annual  reports  of  the  Institution  from  1852  to 
1865,  the  Stanley  collection  is  referred  to,  in  connection  with  the 
gallery  of  art  or  otherwise.  The  following  extract  is  from  the 
report  of  Secretary  Henry  for  1852: 

“One  of  the  original  propositions  of  the  programme  is  that  of 
encouraging  art,  by  providing  a suitable  room  for  the  exhibition 
of  pictures  free  of  expense  to  the  artist.  In  accordance  with 
this,  the  large  room  in  the  west  wing  will  be  devoted  to  this  pur- 
pose. It  now  contains  a very  interesting  series  of  portraits, 
mostly  full-size,  of  one  hundred  and  fifty-two  North  American 
Indians,  with  sketches  of  the  scenery  of  the  country  they  in- 
habit, deposited  by  the  artist  who  painted  them,  Mr.  J.  M. 
Stanley.  These  portraits  were  all  taken  from  life,  and  are  accu- 
rate representations  of  the  peculiar  features  of  prominent  indi- 
viduals of  forty-three  different  tribes,  inhabiting  the  south- 
western prairies,  New  Mexico,  California,  and  Oregon.  The 
faithfulness  of  the  likenesses  has  been  attested  by  a number  of 
intelligent  persons  who  have  visited  the  gallery,  and  have  im- 
mediately recognised  among  the  portraits  those  of  the  individ- 
uals with  whom  they  have  been  personally  acquainted.  The 
author  devoted  to  the  work  of  obtaining  these  pictures  ten  years 
of  his  life,  and  perseveringly  devoted  himself  to  his  task  in  the 
face  of  difficulties  and  dangers  which  enthusiasm  in  the  pursuit 
could  alone  enable  him  to  encounter.  The  Institution  has  pub- 
lished a descriptive  catalogue  of  these  portraits,  which  are  of 
interest  to  the  ethnologist  as  representatives  of  the  peculiar 
physiognomy,  as  well  as  many  of  the  customs,  of  the  natives  of 
this  continent.” 

On  January  28,  1858,  Mr.  Stanley  addressed  the  Board  of 
Regents  as  follows : 

Gentlemen  : The  undersigned  offers  for  sale,  and  respectfully  suggests 
to  your  honorable  Board  the  propriety  of  purchasing,  the  gallery  of  Indian 
portraits  now,  and  for  some  years  past,  in  the  Smithsonian  Institution. 

He  proposes  to  sell  the  whole  collection  described  in  the  catalogue  pub- 
lished by  the  institution,  one  hundred  and  fifty-two  in  number,  for  the  sum 
of  twelve  thousand  dollars — one-third  of  the  same  cash  and  the  remainder 


THE  NATIONAL  GALLERY  OF  ART 


59 


at  two  equal  annual  instalments;  or,  if  it  should  be  preferred,  one-fourth 
down  and  the  residue  in  three  equal  annual  instalments. 

The  undersigned  commenced  his  labors  in  this  work  in  1842,  and  devoted 
the  best  years  of  his  life  in  travelling  through  the  region  of  our  country 
peopled  principally  by  the  red  man — through  the  wilds  of  Oregon  and  what 
is  now  Washington  Territory.  All  of  the  portraits  are  accurate  likenesses 
of  prominent  chiefs  and  braves,  and  readily  recognized  by  men  who  have 
had  intercourse  with  the  various  tribes  of  Indians. 

Since  1852  he  has  cherished  the  hope  (but  has  not  been  able  to  realize 
it)  that  Congress  would  authorize  the  purchase  of  this  collection.  He  has, 
up  to  this  time,  made  sacrifices — such  as  one  believing  in  the  merit  of  his 
own  work,  and  whose  zeal  in  persevering  through  arduous  and  unremitting 
toil  to  accomplish  it,  alone  would  make — to  keep  this  collection  together. 
He  will  not  affect  the  modesty  of  refraining  from  expressing  his  belief  that 
no  other  gallery  (aside  from  what  artistic  merit  the  public  may  award  it) 
possesses  the  interest,  in  a national  point  of  view,  that  this  does.  Some 
of  the  chiefs  represented  are  no  longer  living;  and,  to  the  little  we  know 
of  their  history  it  will  be  some  satisfaction  to  add  the  perpetuation  of 
their  features.  These  were  taken  from  life  and  in  the  character  they 
themselves  preferred  to  be  handed  down  to  the  gaze  of  future  generations. 

The  price  at  which  he  offers  this  collection  will  not  more  than  cover  the 
outlay  in  cost  of  material,  transportation,  insurance,  travelling  expenses, 
&c.,  and  will  not  afford  him  any  compensation  for  his  time  and  labor. 
Taking,  as  he  humbly  conceives,  the  intrinsic  value  of  these  Indian  por- 
traits into  consideration,  he  will  receive  no  pecuniary  profit  by  their 
disposal  on  the  terms  named. 

His  ardent  desire  that  they  should  be  preserved,  as  a national  work,  in 
some  place  at  the  capital  of  our  country;  his  failure  heretofore  to  induce 
Congress  to  agree  to  their  purchase,  and  the  more  pressing  reasons  of  lia- 
bilities now  maturing,  impel  him  to  make  this  proposition.  Your  honor- 
able Board  are  again  requested  to  consider  it  and  communicate  your  an- 
swer at  as  early  a day  as  is  convenient.  If  the  purchase  of  the  portraits 
is  not  authorized  by  you,  he  will  be  compelled  to  expose  them  at  public 
auction  in  time  to  have  the  proceeds  available  by  the  1st  of  May  next. 

The  undersigned  will  take  this  occasion  to  tender  his  acknowledgments 
to  the  Board  and  Professor  Henry  for  the  use  of  the  hall  in  the  institution 
where  the  gallery  now  is,  and  for  other  courtesies,  which  he  will  always 
appreciate. 

I am,  very  respectfully,  your  obedient  servant, 

J.  M.  Stanley. 

This  communication  was  referred  to  a special  committee, 
consisting  of  Messrs.  Felton,  Douglas,  and  Badger,  from  whose 
report,  dated  May  19,  1858,  the  following  extracts  are  taken: 
“The  Secretary  laid  before  the  Board  a letter  from  Mr.  J.  M. 
Stanley,  painter  of  the  gallery  of  Indian  portraits,  now  on  de- 


60 


THE  NATIONAL  GALLERY  OF  ART 


posit  with  the  Smithsonian  Institution,  proposing  to  sell  them 
to  the  Institution  for  the  sum  of  twelve  thousand  dollars. 

“The  committee  appointed  to  consider  and  report  upon  the 
subject  respectfully  represent  that,  while  they  are  fully  sensi- 
ble of  the  great  historical  and  ethnological  value  of  this  collec- 
tion of  portraits,  and  of  their  characteristic  excellence,  they  are 
yet  of  opinion  that  it  would  be  inexpedient  to  withdraw  the 
sum  mentioned  from  the  funds  necessary  to  carry  on  the  scheme 
of  active  operations,  which  has  been  so  ably  inaugurated  and, 
thus  far,  so  successfully  executed.  The  income  of  the  Smith- 
sonian fund  should  not  be  scattered  among  different  and  dis- 
connected objects,  and  the  sum  necessary  for  the  purchase  of 
the  gallery  can  not  be  spared,  without  crippling  for  a time  at 
least  the  regular  operations  of  the  Institution. 

“It  appears  to  your  committee  that  to  purchase  this  collec- 
tion, and  to  place  it  in  some  secure  situation  easy  of  access  to 
visitors  at  the  capital,  would  be  an  act  worthy  of  the  enlightened 
liberality  of  Congress.  The  cost  would  be  insignificant,  and 
the  value  of  the  collection  would  increase  in  all  future  time. 
No  place  is  so  suitable  for  its  permanent  deposit  as  the  city  of 
Washington,  and  no  guardianship  so  appropriate  as  that  of  the 
Government  of  the  United  States. 

“Your  committee  recommend  to  the  Board  that  the  subject 
of  the  purchase  of  Mr.  Stanley’s  Indian  gallery  be  brought  re- 
spectfully to  the  attention  of  Congress,  as  a measure  eminently 
deserving  a favorable  consideration  in  its  bearings  upon  the 
history  of  the  aboriginal  tribes  of  America,  and  as  a monument 
of  deep  and  lasting  interest  to  the  people  of  the  United  States.” 

1854 

Professor  John  Wilson,  of  the  British  Commission,  appointed 
to  attend  the  Exhibition  at  the  New  York  Crystal  Palace,  pre- 
sented to  the  Institution,  in  behalf  of  the  London  Society  of 
Arts,  a collection  of  models,  drawings  and  instruments,  to  facili- 
tate instruction  in  the  art  of  design.  In  order  to  render  these 
immediately  useful,  they  were  lent  to  the  School  of  Design, 
which  had  been  established  in  Washington  by  the  Metropolitan 
Mechanics’  Institute,  under  the  charge  of  Professor  Whitaker. 


THE  NATIONAL  GALLERY  OF  ART 


61 


1856 

The  following  remarks  are  from  the  report  of  Secretary  Henry 
for  this  year: 

“The  Institution  possesses  a valuable  collection  of  engrav- 
ings, well  calculated  to  illustrate  every  epoch  in  the  history  of 
the  art,  as  well  as  the  style  of  the  greatest  masters.  It  is 
desirable  that  a catalogue  be  prepared,  under  the  names  of  the 
engravers,  in  alphabetical  series  and  with  references  to  the  vol- 
ume and  page,  of  the  authors  by  whom  the  pieces  have  been 
described  and  criticised.  The  smaller  engravings  should  be 
mounted  in  portfolios  or  volumes,  and  the  larger  regularly  ar- 
ranged, and  where  necessary,  mounted  on  sheets  of  thick  paper 
or  pasteboard,  and  placed  in  portfolios.  A sufficient  number 
to  illustrate  various  styles,  and  also  such  as  are  of  extraordinary 
merit,  rarity,  or  cost,  ought  to  be  framed  as  a means  of  preserva- 
tion as  well  as  of  exhibition. 

“It  was  a part  of  the  original  programme  of  organization,  to 
furnish  accommodations  free  of  expense  for  the  exhibition  of 
works  of  art,  and  since  there  is  no  city  of  the  Union  visited  by  a 
greater  number  of  intelligent  strangers  than  Washington,  par- 
ticularly during  the  session  of  Congress,  it  is,  perhaps,  one  of 
the  best  places  in  our  country  for  this  purpose.  A few  artists 
during  the  past  year  have  availed  themselves  of  the  advantages 
thus  afforded,  and  perhaps  others  would  embrace  the  oppor- 
tunity were  the  facts  more  generally  known.” 

1857 

Speaking  of  the  Gallery  of  Art,  Secretary  Henry  said:  “Dur- 
ing the  past  year  this  apartment  of  the  Smithsonian  building 
was  enriched  by  a faithful  copy,  in  Carrara  marble,  of  the 
‘Dying  Gladiator,’  one  of  the  most  celebrated  statues  of  an- 
tiquity. This  copy,  which  is  said  to  be  the  only  one  in  marble 
in  existence,  has  been  deposited  here  by  its  owner,  E.  W.  Risque, 
Esq.,  of  the  District  of  Columbia,  to  whom  the  public  of  this 
country  is  indebted  for  his  liberality  in  the  purchase  and  free 
exhibition  of  so  costly  and  interesting  a specimen  of  art.  It  is 
by  Joseph  Gott,  an  English  sculptor  of  high  reputation,  and  its 


62 


THE  NATIONAL  GALLERY  OF  ART 


faithfulness,  as  a representation  of  the  original,  is  vouched  for 
by  a certificate,  among  others,  from  our  lamented  countryman, 
Thomas  Crawford.” 

1858-1864 

This  period  was  especially  noteworthy  in  regard  to  art  mat- 
ters, since  during  this  time  all  of  the  art  and  other  collections 
in  the  museum  at  the  Patent  Office  were  turned  over  to  the 
Smithsonian  Institution.  Such  as  belonged  to  the  Government 
were  transferred  in  1858,  the  first  year  in  which  the  furnishings 
in  the  Smithsonian  building  were  sufficiently  advanced  to  re- 
ceive them.  The  property  of  the  National  Institute,  however, 
remained  at  the  Patent  Office  until  the  dissolution  of  that 
society  by  the  expiration  of  its  charter  in  1862.  It  is  also  inter- 
esting to  note  that  it  was  in  1858  that  the  Government  began  to 
share  in  the  cost  of  caring  for  and  maintaining  the  museum  at 
the  Institution,  although  the  entire  expense  was  not  provided 
for  by  Congressional  appropriations  until  many  years  later. 

The  following  is  from  the  report  of  Secretary  Henry  for  1858: 

“A  large  number  of  portraits,  formerly  in  the  Patent  Office, 
of  Indian  chiefs  and  a few  females  of  the  different  tribes  which 
have  from  time  to  time  visited  Washington,  which  were  painted 
at  the  expense  of  government,  has  been  added  to  the  Gallery 
of  Art.  These,  with  the  Stanley  paintings,  now  form  perhaps 
the  most  valuable  collection  in  existence  of  illustrations  of  the 
features,  costumes,  and  habits  of  the  aborigines  of  this  country. 

'‘This  gallery  is  an  object  of  special  interest  to  all  visitors  to 
the  national  metropolis,  and  to  none  more  so  than  to  the  deputa- 
tions of  Indians  frequently  called  to  Washington  to  transact 
business  with  the  government.  A suggestion  has  been  made 
that  there  be  procured  photographic  likenesses  of  individuals 
of  these  deputations,  with  which  to  increase  the  number  of  por- 
traits. It  would  be  a matter  of  regret  were  the  collections  ever 
to  be  separated,  and  it  is  hoped  that  Congress  will  in  due  time 
purchase  the  portraits  belonging  to  Mr.  Stanley,  which  will  become 
more  and  more  valuable  in  the  progress  of  the  gradual  extinction 
of  the  race  of  which  they  are  such  faithful  representations. 

“A  number  of  busts  of  distinguished  individuals,  that  formed 
a part  of  the  objects  of  art  at  the  Patent  Office,  have  also  been 


THE  NATIONAL  GALLERY  OF  ART 


63 


transferred  to  the  Institution,  and  although  these  are  not  very 
choice  illustrations  of  sculpture,  they  serve  as  a beginning  of  a 
collection  in  this  line  which  may  hereafter  be  worthy  of  the 
Institution.” 

The  Institution  also  received  in  1858  from  Miss  Elizabeth  B. 
Contaxaki,  of  the  island  of  Crete,  an  album  of  sketches  designed 
and  executed  by  her,  with  the  assistance  of  six  Greek  gentle- 
men, of  the  principal  ruins  in  Athens,  and  views  of  the  most 
famous  historical  places  there  and  in  other  parts  of  Greece, 
correctly  drawn  and  delicately  colored.  This  donation  was 
transmitted  by  the  American  Minister  at  Constantinople  through 
the  Secretary  of  State. 

At  a meeting  of  the  Board  of  Regents  on  February  15,  1859, 
it  was  resolved:  “That  the  sum  of  two  thousand  dollars  be 

appropriated,  to  be  expended  at  the  discretion  of  the  executive 
committee,  for  procuring  castings  or  moulds  for  castings  of  the 
chef  d’oeuvres  of  art  in  Europe.”  This  authorization  was  never 
availed  of,  although  in  his  report  for  i860,  Secretary  Henry  refers 
to  a letter  from  Father  Secchi,  of  Rome,  stating  that  he  had 
received  permission  for  the  Institution  to  procure  casts  or 
moulds  of  celebrated  statues  in  the  Vatican. 

In  i860  Secretary  Henry  also  stated  that,  “A  considerable 
number  of  valuable  engravings  have  been  added  to  the  collec- 
tion by  donation  and  a series  of  those  previously  in  the  posses- 
sion of  the  Institution,  have  been  framed  and  hung  up  in  dif- 
ferent parts  of  the  building.  The  plaster  figures  received  by  the 
Institution  from  the  Patent  Office  have  been  cleaned  and  re- 
paired, and  are  now  exhibited  in  the  connecting  range  of  the 
west  wing.  The  Secretary  of  the  Interior  has  sent  to  the  In- 
stitution the  large  stone  sarcophagus  brought  from  Syria  by 
Commodore  Elliott.  It  is  an  interesting  relic  of  Roman  sculp- 
ture, and  has  been  placed  in  the  south  entrance  hall  of  the 
building.  It  is  proper  also  to  mention  that  the  relatives  of  the 
late  Professor  Espy  have  presented  a half  length  portrait  of  him, 
which  is  at  present  placed  in  the  library.” 

The  additions  to  the  art  collection  acknowledged  by  Secretary 
Henry  in  1861  were  as  follows,  though  it  should  be  explained 
that  the  objects  from  the  Patent  Office  which  had  belonged  to  the 
National  Institute  were  not  actually  received  until  July,  1862: 

21394°— 16 5 


64 


THE  NATIONAL  GALLERY  OF  ART 


“A  large  marble  bust  of  Pulaski  on  deposit;  a colossal  bust  in 
plaster  of  Dr.  Robert  Hare.  Another,  of  the  same  size,  of  Hon. 
George  M.  Dallas;  also  a bust  of  Thomas  Jefferson,  and  another 
of  Dr.  E.  K.  Kane,  all  by  purchase.  They  are  original  works  of 
art,  of  considerable  merit,  by  Henry  D.  Saunders. 

“Besides  these,  a series  of  busts  in  plaster,  several  valuable 
pieces  of  sculpture  in  marble,  and  a number  of  pictures,  have 
been  received  from  the  museum  at  the  Patent  Office.  Among 
the  busts  are  the  following:  An  excellent  likeness  of  John 
Vaughan,  for  a long  time  librarian  of  the  American  Philosophical 
Society;  one  of  Cuvier,  the  French  naturalist;  of  Hon.  Dixon 
H.  Lewis,  late  member  of  Congress,  remarkable  for  his  immense 
bodily  size;  and  of  the  Hon.  Peter  Force,  of  this  city.  Among 
the  articles  in  marble  are  a full-sized  medallion  of  Minerva  from 
Pompeii,  a half-size  copy  of  the  Apollo  Belvidere,  and  two  other 
half-size  ancient  statues,  all  of  elaborate  finish.  Among  the 
pictures  is  an  original  portrait  of  Washington  by  the  elder  Peale, 
painted  immediately  after  the  battle  of  Princeton.  In  addition 
to  the  foregoing,  the  collection  has  been  increased  by  one  hundred 
large  engravings  presented  by  Charles  B.  King,  a well-known 
artist,  who  has  resided  many  years  in  this  city.  These  engrav- 
ings are  copies  of  celebrated  pictures,  and  are  illustrations  of 
the  style  of  some  of  the  best  masters  of  the  art  of  engraving. 
They  were  to  have  been  bequeathed  to  the  Institution,  as  Mr. 
King  himself  informed  me,  but  he  has  lately  concluded  to  present 
them  before  his  death.  A list  of  the  engravings  will  be  found 
in  the  appendix  to  the  report  of  the  present  year,  from  which 
it  will  be  seen  that  they  form  an  interesting  addition  to  the 
valuable  collection  of  engravings  already  belonging  to  the  In- 
stitution.” 

The  acquisitions  in  1862  comprised  a bust  of  Prof.  Benjamin 
Silliman,  presented  by  his  son,  and  one  of  Gen.  William  H. 
Sumner,  presented  by  Mr.  George  Wood,  of  Washington. 

1865 

At  the  beginning  of  1865,  in  spite  of  the  adverse  conditions 
which  have  been  described,  the  collection  of  art  objects  at  the 
Smithsonian  Institution  had  reached  considerable  size,  and, 
although  only  a relatively  small  proportion  was  of  a character 


THE  NATIONAL  GALLERY  OF  ART 


65 


that  would  entitle  it  to  recognition  in  a gallery  of  the  fine  arts, 
yet  the  number  of  worthy  examples  was  sufficient,  as  a nucleus, 
to  stimulate  activity  in  this  direction,  had  the  time  been  oppor- 
tune or  had  not  an  accident  intervened  to  bring  discouragement. 
As  will  have  been  noted  from  the  accounts  on  the  preceding 
pages,  the  collection  was  derived  in  part  from  accessions  directly 
to  the  Smithsonian  Institution,  as  gifts,  purchases  and  Govern- 
ment deposits,  and  in  part  through  the  transfer  of  the  museum 
of  the  National  Institute  in  1862. 

It  has,  unfortunately,  not  been  possible  to  prepare  a com- 
plete catalogue  of  the  contents  of  the  collection  at  this  time, 
owing  to  the  destruction  of  the  manuscript  records  of  the 
Institution  in  the  fire  described  on  a later  page,  and  to  the  fact 
that  a comprehensive  list  was  never  published.  The  one  here 
given  is  based  on  such  information  as  could  be  obtained  from 
the  Smithsonian  reports,0  and  from  an  examination  of  such  of 
the  objects  obtained  during  the  earlier  years  as  are  still  in  the 
possession  of  the  Institution.  At  the  time  of  writing,  however, 
there  is  some  art  material  in  storage,  the  exact  nature  of  which 
can  not  be  ascertained  before  the  completion  of  the  new  Museum 
building,  when  it  may  be  possible  to  amplify  the  list. 

a Much  information  regarding  the  collection  at  this  period,  not  to  be  found 
elsewhere,  is  contained  in  the  following  private  publication:  “An  Ac- 
count of  The  Smithsonian  Institution,  its  Founder,  Building,  Operations, 
Etc.,  Prepared  from  the  Reports  of  Prof.  Henry  to  the  Regents,  and 
other  authentic  sources.  By  William  J.  Rhees,  Chief  Clerk  of  the  Smith- 
sonian Institution.”  This  pamphlet  was  essentially  a guide  for  the  use 
of  visitors.  It  was  first  issued  at  least  as  early  as  1857  and  continued  to 
be  reprinted  during  many  years. 


66 


THE  NATIONAL  GALLERY  OF  ART 


LIST  OF  THE  ART  OBJECTS  AT  THE  SMITHSONIAN  INSTITUTION 
AT  THE  BEGINNING  OF  1 865° 

Portraits 

WASHINGTON.  By  Charles  Willson  Peale. 

CAPTAIN  JOHN  EVANS.  By  John  Singleton  Copley. 

F.  P.  G.  GUIZOT.  By  George  P.  A.  Hcaly. 

JOHN  TYLER.  By  George  P.  A.  Healy. 

WILLIAM  C.  PRESTON.  By  George  P.  A.  Healy. 

ZACHARY  TAYLOR.  By  John  V anderlyn.  An  unfinished  sketch,  made 
three  days  before  the  death  of  the  President.  From  Col.  Samuel  G. 
Taylor,  April  6,  1855. 

ANDREW  JACKSON.  By  R.  E.  W.  Earl. 

RICHARD  RUSH,  Statesman,  Regent  of  the  Smithsonian  Institu- 
tion. By  T.  W.  Wood. 

ROGER  B.  TANEY,  Chief  Justice  of  the  United  States. 

JAMES  A.  PEARCE,  U.  S.  Senator  from  Maryland,  Regent  of  the 
Smithsonian  Institution. 

THOMAS  CORWIN.  By  J.  M.  Stanley. 

JAMES  P.  ESPY,  Meteorologist.  Presented  to  the  Smithsonian 
Institution  in  i860  by  his  family. 

CARDINAL  MAZARIN  (?). 

MAHMUD  I,  Sultan  of  Turkey,  1730-1754. 

A BISHOP  OF  ENGLAND  IN  OLDEN  TIME.  Origin  unknown. 

JOSEPH  HENRY,  Secretary  of  the  Smithsonian  Institution.  By 
A.  W.  Janvier,  1857.  Crayon  portrait,  bust. 

JAMES  SMITHSON.  Full  length  portrait  in  the  costume  of  an  Oxford 
student,  sitting,  about  one-fourth  natural  size.  Purchased  in  1850 
of  the  widow  of  John  Fitall,  a servant  of  Smithson  and  a bene- 
ficiary under  his  will. 

JAMES  SMITHSON,  At  the  Age  of  5 1 Years.  By  Johns.  Miniature  on 
ivory.  Painted  at  Aix  la  Chapelle,  May  11,  1816. 

JAMES  SMITHSON.  Medallion  in  copper. 

COLONEL  HENRY  LOUIS  DICKINSON,  Half  Brother  of  Smithson. 
By  Spornberg,  No.  5 Bond  Street,  Bath,  March  1,  1805.  Miniature 
on  ivory.  Signed  and  dated. 

HUGH  SMITHSON  (PERCY),  Duke  of  Northumberland,  Father  of 
Smithson.  Mezzotint. 

HENRY  JAMES  DICKINSON,  Nephew  of  Smithson.  Small  silhouette 
portrait. 

a The  paintings  are  in  oil  and  the  busts  and  statuary  in  plaster  unless  other- 
wise stated.  For  fuller  explanations  of  the  objects  received  from  the  Na- 
tional Institute  reference  should  be  made  to  the  list  given  under  that  heading. 


THE  NATIONAL  GALLERY  OF  ART 


67 


Miscellaneous  Paintings,  etc. 

JOB  AND  HIS  COMFORTERS.  By  JosS  de  Ribera  ( Spagnoletto ). 
CATTLE  PIECE,  PEASANTS,  ETC.  By  Nicolas  Berghem.  Received 
with  the  effects  of  James  Smithson. 

VIEW  OF  CONSTANTINOPLE  FROM  PERA. 

GENERAL  MARION  GIVING  DINNER  TO  A BRITISH  OFFICER. 

By  Lieutenant  H.  C.  Flagg,  U.  S.  Navy. 

MASSACRE  OF  THE  INNOCENTS.  Italian  school. 

TURKISH  BATTLE  PIECE. 

CHRIST  HEALING  THE  SICK.  By  Rembrandt.  Framed  etching. 
Probably  from  the  Marsh  collection. 

Indian  Portraits  and  Scenes 

There  were  in  the  Institution  at  the  beginning  of  1865  two 
series  of  oil  paintings  of  North  American  Indians  and  Indian 
scenes,  one  on  deposit  the  other  the  property  of  the  Govern- 
ment, both  being  installed  at  the  western  end  of  the  second 
story  of  the  Smithsonian  building.  The  former  was  the  J.  M. 
Stanley  collection  of  152  canvases,  including  a portrait  of  the 
artist  by  A.  B.  Moore.  Of  additions  noted  by  Professor  Henry 
no  descriptions  have  been  found.  The  latter  consisted  of  147 
portraits  painted  expressly  for  the  Government  between  1825 
and  1837,  and,  with  a few  exceptions,  was  the  work  of  Charles 
B.  King.  The  other  artists  represented  were  A.  Ford,  S.  M. 
Charles  and  a Mr.  Cooke.  Complete  lists  of  both  of  these  col- 
lections were  given  in  the  Account  of  the  Smithsonian  Institu- 
tion by  William  J.  Rhees,  cited  on  page  65.  That  of  the 
Stanley  collection  is  descriptive. 

Engravings  and  Etchings 

Under  this  heading  may  be  mentioned  the  choice  collection 
of  prints  purchased  from  George  P.  Marsh  in  1849  and  described 
on  pages  54  to  56;  the  series  of  one  hundred  engravings  do- 
nated by  Charles  B.  King  in  1861;  and  numerous  prints  from 
other  sources. 

Busts 

JOEL  BARLOW. 

FRANCIS  P.  BLAIR.  By  Clark  Mills. 

ROBERT  BURNS. 


68 


THE  NATIONAL  GALLERY  OF  ART 


JOHN  C.  CALHOUN.  By  Clark  Mills. 

HENRY  CLAY.  By  F.  Pettrich. 

BARON  CUVIER.  By  Louis  Parfait  Merlieux,  1832. 
GEORGE  M.  DALLAS.  By  Henry  D.  Saunders. 
WILLIAM  DARLINGTON,  Botanist. 

STEPHEN  DECATUR,  Commodore,  U.  S.  Navy. 
CHARLES  DICKENS. 

MISS  GERTRUDE  FAIRFIELD.  By  Clark  Mills. 
PETER  FORCE,  Mayor  of  Washington,  1836-1840. 
JOHN  FORSYTH. 

ROBERT  FULTON. 

BENJAMIN  HALLO  WELL.  By  Bailey,  one  of  his  pupils. 
MISS  KATE  HAMPTON.  By  Clark  Mills. 

DR.  ROBERT  HARE.  By  Henry  D.  Saunders. 

THOMAS  JEFFERSON.  By  Henry  D.  Saunders. 

DR.  E.  K.  KANE.  By  Henry  D.  Saunders. 

AMOS  KENDALL. 

DIXON  H.  LEWIS. 

GEORGE  McDUFFIE- 
CLARK  MILLS. 

JOHN  MILTON. 

WILLIAM  NORRIS.  By  F.  Pettrich. 

JAMES  L.  ORR. 

FRANKLIN  PIERCE. 

JOEL  R.  POINSETT.  By  F.  Pettrich.  Marble. 
WILLIAM  C.  PRESTON. 

COUNT  PULASKI.  Marble. 

BENJAMIN  SILLIMAN. 

JOHN  C.  SPENCER. 

GENERAL  WILLIAM  H.  SUMNER. 

ROGER  B.  TANEY. 

ZACHARY  TAYLOR. 

THORWALDSEN. 

MARTIN  VAN  BUREN.  By  F.  Pettrich. 

JOHN  VAUGHAN. 

LEVI  WOODBURY. 

DANIEL  WEBSTER.  By  Clark  Mills,  1848. 

WILLIAM  WILSON.  Medallion. 


THE  NATIONAL  GALLERY  OF  ART 


69 


Statuary,  Models,  etc. 

HEAD  OF  SAINT  CECILIA.  By  Thorwaldsen.  In  marble.  Presented 
to  James  Smithson  at  Copenhagen  by  Doctor  Brandis,  physician  to 
the  King  of  Denmark. 

THE  DYING  GLADIATOR.  Executed  by  Joseph  Gott,  an  English  sculptor. 
A copy  in  Carrara  marble  of  this  celebrated  statue  in  Rome.  De- 
posited by  F.  W.  Risque. 

APOLLO  BELVIDERE.  A small  copy  in  marble. 

BUST  OF  CERES.  In  porphoritic  marble,  from  Pompeii. 

HEAD  OF  BACCHANTE.  Marble.  In  high  relief.  From  Pompeii. 
VENUS  DE  MEDICI.  A plaster  copy. 

STATUE  OF  WASHINGTON.  By  F.  Pettrich. 

STATUETTE  OF  FERDINAND  PHILIPPE  D ’ORLEANS,  Due  d’Or- 
LEans.  By  A.  Barre,  Paris,  1842.  Inscribed  “A  l’lnstitut  Na- 
tional des  Etats  Unis  d’Amerique,  hommage  de  l’auteur  A.  Barre.” 
STATUETTE  OF  ANDREW  JACKSON  ON  HORSEBACK.  By  Clark 
Mills. 

STATUETTE  OF  DANIEL  O’CONNELL.  Marked  “Published  by  Dau- 
ton  of  London,  1834.” 

BROKEN  HEART.  Statue.  Reclining  figure. 

THE  YOUNG  HUNTER,  SLEEPING  CHILD,  GIRL  FISHING,  and 
other  models  by  F.  Pettrich. 

Miscellaneous 

STONE  SARCOPHAGUS  from  Beirut,  Syria.  Obtained  and  trans- 
mitted by  Commodore  Elliott,  U.  S.  Navy. 

ALBUM  OF  SKETCHES  of  the  principal  ruins  in  Athens  and  views 

OF  FAMOUS  HISTORICAL  PLACES  IN  DIFFERENT  PARTS  OF  GREECE. 
By  Miss  Elizabeth  B.  Contaxaki  and  others. 

The  fire  0}  1865 

On  January  24,  1865,  the  Smithsonian  building  was  visited  by 
a serious  fire,  which  destroyed  the  greater  part  of  the  art  collec- 
tion. A series  of  cases  intended  for  ethnological  specimens  had 
been  constructed  in  the  gallery  on  the  second  floor,  which  made 
it  necessary  to  rearrange  the  Indian  paintings.  The  day  was 
extremely  cold,  and  with  a view  to  their  comfort  in  hanging  the 
pictures  the  workmen  brought  a stove  into  the  room  and  inad- 
vertently inserted  the  pipe  in  a.  ventilating  flue  which  opened 
under  the  roof.  The  conflagration  which  ensued  burnt  out  the 


70 


THE  NATIONAL  GALLERY  OF  ART 


entire  upper  story  of  the  main  building,  as  well  as  the  central 
main  towers  on  both  the  north  and  south  sides.  Fortunately 
the  floor  between  the  two  stories  was  fire  proof,  which  prevented 
the  extension  of  the  fire  to  the  lower  main  hall  and  the  two 
wings.  The  contents  of  the  upper  gallery  were  almost  entirely 
destroyed.  These,  as  before  explained,  consisted  mainly  of  the 
Indian  paintings  by  J.  M.  Stanley,  Charles  B.  King  and  others, 
probably  other  paintings,  and  the  marble  copy  of  the  Dying 
Gladiator. 

The  period  subsequent  to  the  fire  of  1865 

In  1866,  the  year  after  the  fire,  the  library  of  the  Smithsonian 
Institution  was,  by  authority  of  Congress,  placed  in  the  custody 
of  the  Library  of  Congress,  and  the  Marsh  collection  of  prints 
and  art  books  was  sent  with  it,  as  a temporary  deposit.  A simi- 
lar disposition  was  subsequently  made  of  other  parts  of  the  art 
collection  in  connection  with  the  Gallery  of  Art  which  bears  the 
name  of  its  generous  founder,  Mr.  William  W.  Corcoran,  and  of 
which  Secretary  Henry  and  later  Secretary  Baird  were  members 
of  the  board  of  trustees.  The  original  building  at  the  corner  of 
Pennsylvania  Avenue  and  Seventeenth  Street,  begun  just  be- 
fore the  civil  war,  but  occupied  by  the  Government  until  1869, 
was  not  put  in  final  condition  for  its  intended  purpose  and 
opened  to  the  public  until  the  beginning  of  1874.  Cooperation 
with  the  Gallery  had  been  anticipated  by  Secretary  Henry,  and 
in  1873  the  Board  of  Regents  of  the  Institution,  after  a conference 
with  Mr.  Corcoran,  authorized  the  loan  of  such  objects  as  were 
desired,  subject  to  recall  at  any  time.  They  also  proffered  the 
aid  of  the  Institution,  through  its  extensive  foreign  correspond- 
ents and  agencies,  in  collecting  valuable  works  of  art  abroad. 
The  deposits  were  made  principally  in  1874  and  1879  and,  as 
enumerated  in  the  Smithsonian  reports  at  that  time,  comprised 
the  following  works : 

Portraits  in  oil. — Guizot,  President  Tyler,  and  Senator  William 
C.  Preston,  by  George  P.  A.  Healy;  George  Washington,  by 
Charles  Willson  Peale;  Prof.  Joseph  Henry,  by  Thomas  Le 
Clear.  Engravings. — Lioness  and  young,  and  two  of  deer,  by 
J.  F.  Ridinger;  Silenus,  by  Bolsevert;  Hercules,  by  Rottsseler; 
a Centaur  instructing  Achilles,  by  Bervic,  after  Regnault;  an 


THE  NATIONAL  GALLERY  OF  ART 


71 


Interior,  by  Vischer,  after  Ostade;  a Family  Concert,  by  J.  G. 
Wille,  after  G.  Schalken;  Holy  Family,  by  B.  Desnoyers,  after 
Raphael;  Holy  Family,  by  unknown  artist;  Aurora,  by  Ralph 
Morghen,  after  Guido.  Etchings. — Christ  healing  the  sick,  by 
Dick;  Cows,  by  Roos;  Horses,  by  Paul  Potter;  Fireside,  by 
Boissieu;  Goats  (two),  by  Berghem;  eleven  etchings  by  Rem- 
brandt; eleven  etchings  by  Ostade  and  others;  twelve  etchings 
by  Clodowiecki.  Mezzotint. — An  Old  Beggar,  by  Townley,  after 
Dante.  Figures  in  marble  and  plaster. — Antique  marble  head  of 
Ceres;  cast  of  a bas-relief  of  “Phoebus”  from  a marble  found  in 
the  ruins  of  ancient  Troy,  in  1873,  by  Doctor  Schliemann;  mar- 
ble bas-relief  of  a Bacchante;  copy  of  the  Venus  de  Medici; 
Sleeping  Child ; The  Hunter  with  birds  and  game;  female  sitting, 
with  two  infants;  female  recumbent,  with  a lamb;  female 
crouching;  female  nude,  half  rising;  two  females  standing;  me- 
dallion of  William  Wilson;  equestrian  statuette  of  Andrew  Jack- 
son;  statuette  of  the  Duke  of  Orleans;  statuette  of  Daniel 
O’Connell;  statuette  of  a boy  holding  a ewer;  wooden  model  of 
the  Nelson  monument  in  London.  Plaster  busts. — Washington, 
Baron  Cuvier,  Laplace,  Dixon  H.  Lewis,  Peter  Force,  Benjamin 
Hallowell,  E.  K.  Kane,  Thomas  Le  Clear,  Ferdinand  Pettrich, 
Mrs.  F.  Pettrich,  Gustave  Adolph  Pettrich,  six  small  busts  of 
F.  Pettrich’s  children.  The  Nativity  and  Adoration  of  the 
Kings,  by  Heinrich  Goltzius.  Bruggemann  Album  of  Photo- 
graphs, illustrating  the  altar  screen  in  the  Cathedral  at  Schleswig. 

With  a few  exceptions,  these  objects  remained  at  the  Corcoran 
Gallery  until  1896,  such  as  were  suitable  for  the  purpose  being 
placed  on  exhibition  and  listed  in  the  catalogues.  In  the  same 
year  such  parts  of  the  Marsh  collection  as  could  be  located  at 
the  Library  of  Congress,  then  in  the  Capitol  building,  were  also 
brought  back  to  the  Institution. 

After  the  deposit  in  the  Library  of  Congress  and  the  loan  to 
the  Corcoran  Gallery,  such  specimens  of  art  as  remained  were 
for  the  most  part  distributed  among  the  offices,  though  many 
of  the  busts  were  placed  on  the  tops  of  cases  in  exhibition 
halls.  Besides  a number  of  prints  which  had  been  framed  for 
hanging  on  the  walls,  however,  there  was  little  of  real  merit 
left,  and  most  of  the  objects  have  since  been  assigned  to  their 
appropriate  places  in  the  Museum  classification.  At  this  period 


72 


THE  NATIONAL  GALLERY  OF  ART 


the  promotion  of  art  by  the  Institution  may  be  said  to  have 
been  at  its  lowest  ebb.  The  fire  had  brought  discouragement, 
and  the  time  was  not  propitious  for  arousing  a popular  inter- 
est in  the  subject,  the  only  means  through  which  it  could  pos- 
sibly be  advanced. 

The  Centennial  Exhibition  at  Philadelphia  in  1876,  however, 
furnished  an  exceptional  opportunity  for  bringing  together  ex- 
amples of  the  natural  and  industrial  products  of  a large  part  of 
the  world.  At  its  close  the  liberal  attitude  of  both  foreign  and 
American  exhibitors  resulted  in  the  presentation  to  this  Govern- 
ment of  very  extensive  collections  in  which  the  arts  and  indus- 
tries were  most  prominently  represented.  This  acquisition, 
much  the  largest  and  most  important  ever  received  at  any  one 
time,  led  Congress  to  appropriate  funds  for  the  erection  of  the 
present  Museum  building,  finished  in  1 88 1 . Although  the  greater 
part  of  the  material  obtained  at  Philadelphia  was  placed  on 
exhibition  as  soon  as  the  proper  arrangements  could  be  made, 
the  further  rapid  increase  of  the  collections  in  various  lines  made 
it  necessary  to  remove  much  of  it  to  storage  where  it  still  re- 
mains. Among  the  subjects  retained  on  display  are  several 
in  which  artistic  workmanship  is  a prominent  if  not  dominating 
feature,  and  these,  through  subsequent  accessions,  have  now 
come  to  be  represented  to  the  extent  of  the  space  available  for 
the  purpose.  These  exhibits  are  mainly  of  the  graphic  arts, 
ceramics,  lacquers,  and  metal  and  glass  work,  with  some  art 
fabrics  and  articles  of  personal  adornment  and  utility.  They 
are  not  extensive,  but  contain  many  objects  of  much  value  and 
interest.  Although  these  subjects  do  not  have  a direct  bearing 
on  the  Gallery  of  Art  as  defined  at  present,  they  are  here  re- 
ferred to  as  evidence  of  the  fact  that  the  entire  field  of  art  has 
been  comprehended  in  the  scheme  of  the  Museum,  and  that  no 
opportunity  to  add  to  the  collections  in  this  direction  has  been 
neglected. 

In  his  first  annual  report,  that  for  1888,  Secretary  Langley 
remarked : 

“The  words  of  your  first  secretary,  that  the  Institution  exists 
for  knowledge  in  the  highest  sense,  including  not  only  science 
commonly  so  called,  but  ‘the  true,  the  beautiful,  as  well  as  the 
immediately  practical,’  remind  us  that  one  of  the  lines  on  which 


THE  NATIONAL  GALLERY  OF  ART 


73 


the  Institution  was  to  develop  according  to  the  views  of  Con- 
gress, that  of  its  connection  with  art,  has  been  allowed  almost 
entirely  to  lapse.  It  is  now,  however,  understood  that  a very 
valuable  collection  of  art  objects,  representing,  perhaps,  over 
$1,000,000  in  value,  has  been  left  to  the  Smithsonian  Institution ; 
and  it  is  not  an  abstract  question  when  we  ask  what  these  rela- 
tions are  to  be.  It  seems  to  me  that  here  again  the  fact  of  the 
independence  of  the  Smithsonian  is  of  inestimable  value  in  its 
possible  future  usefulness.  No  possessor  of  a great  private  gal- 
lery like  either  of  the  two  or  three  in  this  country  which  are  rising 
now  to  almost  national  importance — no  possessor  of  such  a gal- 
lery, knowing  on  the  one  hand  what  art  is  and  on  the  other  hand 
what  the  relations  of  the  Government  to  art  have  been  in  the 
past,  is  likely  to  bequeath  it  to  the  nation  without  some  guaranty, 
not  only  for  its  care  and  maintenance,  but  for  its  judicious  use  in 
the  cause  of  national  art  itself. 

“The  Smithsonian  stands  here  in  the  position  of  a disinter- 
ested and  independent  party,  absolutely  responsible,  having  a 
permanency  such  as  no  individual  or  private  corporation  can 
represent,  and  it  might  very  well,  it  seems  to  me,  in  pursuit  of 
its  proper  objects  accept  a trust  of  this  kind  on  the  condition 
either  of  seeing  itself  that  the  Government  accepted  it  and  pro- 
vided for  it  in  a proper  way  or  handing  it  back  to  the  heirs  of 
the  conditional  donor.  It  is  perhaps  not  too  much  to  say  that 
an  important  function  of  the  Smithsonian  which  has  lain  long  in 
abeyance  may  yet  be  developed  in  this  direction.” 

In  1896  Secretary  Langley  reported  to  the  Board  of  Regents 
as  follows : 

“I  now  desire  to  bring  before  the  Regents  a matter  in  which 
they  may  see  fit  to  express  some  opinion. 

“The  fundamental  act  creating  the  Institution,  in  enumerat- 
ing its  functions,  apparently  considers  it  first  as  a kind  of  Gal- 
lery of  Art,  and  declares  that  all  objects  of  art  and  of  foreign 
and  curious  research,  the  property  of  the  United  States,  shall 
be  delivered  to  the  Regents,  and  only  after  this  adds  that  ob- 
jects of  natural  history  shall  be  so  also. 

“The  scientific  side  of  the  Institution’s  activities  has  been 
in  the  past  so  much  greater  than  its  aesthetic  that  it  is  well  to 
recall  the  undoubted  fact  that  it  was  intended  by  Congress  to 


74 


THE  NATIONAL  GALLERY  OF  ART 


be  a curator  of  the  national  art,  and  that  this  function  has 
never  been  forgotten,  though  often  in  abeyance. 

“In  1849,  your  first  Secretary,  Joseph  Henry,  in  pursuance 
of  this  function  of  an  Institution  which,  in  his  own  words,  ex- 
isted for  ‘the  true,  the  beautiful,  as  well  as  for  the  immediately 
practical,’  purchased  of  the  Hon.  George  P.  Marsh  a collection 
of  works  of  art — chiefly  engravings — for  the  sum  of  $3,000,  un- 
derstood then  to  be  but  a fraction  of  its  cost,  and  which,  owing 
to  the  great  rise  in  the  market  value  of  such  things  in  the  last 
fifty  years,  does  not  in  the  least  represent  its  value  to-day.  It 
is  impossible  to  state  what  the  present  value  of  the  collection 
is,  without  an  examination  of  the  engravings  and  etchings,  but 
experts  that  I have  consulted  say  that  the  rise  in  all  good  speci- 
mens of  engraving  and  etching  during  the  forty-seven  years 
which  have  elapsed  since  the  purchase  has  been  so  great  that 
if  these  had  then  the  value  attributed  to  them  they  must  be 
worth  from  five  to  ten  times  that  amount  now,  or  even  more. 

“Immediately  after  the  fire  at  the  Institution,  in  1865,  doubt 
was  felt  that  the  building  was  a place  of  safety,  and  a portion 
of  the  collection  was  transferred  to  the  Library  of  Congress, 
and  in  1874  and  1879  other  portions  were  lent  to  the  newly 
founded  Corcoran  Art  Gallery.  The  transfer  was  with  the 
express  understanding  that  they  were  there  for  deposit  only, 
and  to  be  reclaimed  by  the  Regents  at  any  time. 

“A  portion  of  the  collection  is  identified  by  Mr.  Spofford  as 
in  the  charge  of  the  Library  at  the  Capitol,  except  a few  volumes 
and  engravings  which  he  hopes  to  find  at  the  time  of  the  com- 
ing transfer  to  the  new  building.  There  is  no  question  made 
by  the  Corcoran  Gallery  about  the  fact  of  the  engravings  and 
etchings  which  they  have  on  deposit. 

“In  view  of  the  fact  of  the  coming  occupancy  of  the  New 
Congressional  Library,  in  which  it  is  expected  that  special  quar- 
ters will  be  assigned  to  the  Smithsonian  deposit,  both  for  stor- 
ing in  the  ‘East  Stack’  of  its  now  over  300,000  titles,  and  of  a 
suitable  room  for  their  consultation,  and  of  the  further  fact 
that  the  Corcoran  Gallery  will  also  shortly  move  into  a new 
building,  I have  thought  it  might  be  desirable  for  the  Regents 
to  take  action  looking  to  the  reclamation  of  the  engravings, 
etchings,  and  other  works  of  art. 


:V' 


PRINT  ROOM,  SMITHSONIAN  BUILDING,  FURNISHED  IN  1896 


THE  NATIONAL  GALLERY  OF  ART 


75 


“This  building  has  since  been  made  fireproof,  and  recent 
changes  have  given  it  means  of  properly  caring  for  these  col- 
lections.” 

Senator  Gray  offered  the  following  resolution,  which  was 
adopted: 

“Resolved,  That  the  question  of  the  propriety  of  bringing  the 
works  of  art  belonging  to  the  Institution  under  the  more  imme- 
diate control  of  the  Board  of  Regents  be  referred  to  the  Execu- 
tive Committee  and  the  Secretary,  with  power  to  act.” 

In  his  report  for  1900,  referring  to  the  resolution  of  the  Board 
of  Regents,  Secretary  Bangley  adds : 

“In  pursuance  of  this  the  Institution  brought  back  to  its  own 
keeping  a number  of  prints  of  value,  both  from  the  Library  of 
Congress  and  the  Corcoran  Gallery,  leaving,  by  an  amicable 
understanding  with  the  latter  establishment,  as  a loan,  a few 
of  the  works  of  art,  notably  a large  picture  by  Healy. 

“The  old  name  of  the  collections  was  the  ‘Gallery  of  Art,’  a 
title  which  seems  almost  too  ambitious  for  the  present  collec- 
tions of  the  Institution,  though  it  is  to  be  hoped  that  this  des- 
ignation will  be  justified  by  their  future  increase.  These  have 
been  placed  by  me  in  a room  specially  fitted  up  for  that  pur- 
pose (the  Art  Room),  under  the  temporary  charge  of  the  libra- 
rian.” 

The  room  to  which  Secretary  Langley  refers  as  having  been 
assigned  to  art  purposes  is  one  of  the  larger  apartments  on  the 
second  floor  of  the  east  wing  of  the  Smithsonian  building, 
measuring  about  32  feet  long  by  14  feet  wide  and  11  feet  10 
inches  high.  It  has  been  artistically  fitted  up  and  furnished, 
having  a frieze  of  plaster  copies  in  reduced  size  of  a part  of 
the  Elgin  marbles,  belowT  which  hangs  a series  of  photographs 
of  portraits  by  eminent  masters.  Two  large  cases  of  drawers 
designed  for  prints  occupy  one  end  of  the  room,  while  several 
bookcases  for  important  art  works  are  placed  along  the  sides. 
The  room  also  contains  many  small  bronzes  and  other  art  objects. 

It  would  be  very  difficult  under  existing  conditions  to  pre- 
pare a catalogue  of  all  the  examples  of  art  received  since  the 
time  of  the  fire  in  1865,  and  such  a list  is  not  called  for  in  this 
connection.  Some  of  the  more  noteworthy  acquisitions  of  pic- 
tures, bronzes  and  productions  in  plaster  are,  however,  enumerated 
herewith. 


76 


THE  NATIONAL  GALLERY  OF  ART 


SOME  OF  THE  ACQUISITIONS  SINCE  1 865 

Benefactors  of  the  Institution 

JAMES  SMITHSON: 

In  academic  cap  and  gown,  at  the  age  of  probably  25  years;  water 
color  on  board,  7 by  6 inches;  signed  “Bone.”  Purchased  by  the 
Institution  in  1887  of  James  Gunn,  London. 

Portrait.  By  L.  Moeller.  Crayon  bust.  30  by  25  inches.  Appar- 
ently copied  from  the  miniature  by  Johns. 

Memorial  tablet.  By  William  Ordway  Partridge , 1896.  A bronze 
copy  is  in  the  English  church  at  Genoa,  Italy,  where  Smithson  was 
buried  and  where  his  body  remained  until  brought  to  Washington 
in  1904.  A plaster  and  a marble  copy  are  at  the  Smithsonian  In- 
stitution. 39  by  28K  inches. 

THOMAS  GEORGE  HODGKINS.  By  Robert  Gordon  Hardie.  Portrait. 
Oil  on  canvas.  36  by  26  inches.  Signed. 

ROBERT  STANTON  AVERY.  Crayon  bust. 

Regents  of  the  Institution 

Besides  many  photographs  of  Regents,  the  Institution  pos- 
sesses a few  oil  paintings  and  crayon  portraits  of  deceased 
members  of  the  Board.  The  paintings  are  as  follows : 

RICHARD  RUSH.  By  T.  W.  Wood,  January,  1856.  Three-quarters 
length.  Oil  on  canvas.  40^  by  30^  inches. 

CORNELIUS  CONWAY  FELTON.  Bust.  Oil  on  canvas.  34  by  27 
inches. 

LOUIS  AGASSIZ.  By  W.  Ingalls.  Bust.  Oil  on  canvas.  36  by  30 
inches.  Signed. 

The  crayon  portraits,  mostly  on  a photographic  base,  are  of 
Alexander  Dallas  Bache,  Salmon  Portland  Chase,  Henry  Copp4e, 
George  Mifflin  Dallas,  Nathaniel  Cobb  Deering,  Millard  Fill- 
more, Asa  Gray,  John  Maclean,  Justin  Smith  Morrill,  Peter 
Parker,  William  Tecumseh  Sherman,  Roger  Brooke  Taney, 
Morrison  Remick  Waite.  Of  W.  W.  Seaton  there  are  a wash 
drawing,  and  a medallion  head,  bas-relief,  in  plaster,  by  Henry 
D.  Saunders. 


THE  NATIONAL  GALLERY  OF  ART 


77 


Secretaries  of  the  Institution 

JOSEPH  HENRY: 

Portrait.  By  Thomas  Le  Clear,  N.  A.  Three-quarters  length.  Oil 
on  canvas.  46  by  33  inches.  Signed  and  dated  1877. 

Portrait.  By  W.  Ingalls.  Half-length.  Oil  on  canvas.  36X  by 
30  l/i  inches.  Signed. 

Portrait.  By  C.  Schussele.  Unfinished  head.  Oil  on  canvas.  15 
by  13K  inches. 

Portraits.  Crayon  bust.  By  M.  G.  Dayton,  Henry  Ulke,  and  Rachman. 
Plaster  busts.  By  W.  W.  Story,  Herbert  Adams,  Clark  Mills,  and 
C.  V.  Burton. 

Mold  of  the  Princeton  tablet.  By  Augustus  St.  Gaudens. 

SPENCER  FULLERTON  BAIRD: 

Portrait.  By  Robert  Gordon  Hardie.  Half  length.  Oil  on  canvas. 

36  by  29  inches.  Signed  and  dated  1895. 

Portrait.  By  Henry  Ulke.  Bust.  Oil  on  canvas.  30  by  25  inches. 
Signed  and  dated  1887. 

Portraits.  Crayon  bust.  By  Henry  Ulke  and  Rachman. 

SAMUEL  PIERPONT  LANGLEY.  By  Robert  Gordon  Hardie.  Portrait. 
Half  length.  Oil  on  canvas.  30  by  25  inches.  Signed  and  dated 
1893- 


Assistants  and  Collaborators  of  the  Institution 

ROBERT  HARE.  By  Alvan  Clark.  Bust.  Oil  on  canvas.  30  by  25 
inches. 

ISAAC  LEA.  Crayon  bust.  Presented  to  the  Institution  by  Doctor  Lea, 
May  29,  1884. 

CHARLES  C.  JEWETT,  Assistant  Secretary,  1847-1855.  Crayon 
bust. 

JOHN  WESLEY  POWELL.  By  E.  C.  Messer.  Three-quarters  length, 
seated.  Oil  on  canvas.  48^2  by  38^  inches.  Signed  and  dated 
1889.  Presented  to  the  Institution  by  Mrs.  Powell,  1906. 

ELLIOTT  COUES.  Half  length,  seated.  Oil  on  canvas.  36  by  30 
inches.  Bequeathed  to  the  Institution  by  Mrs.  Coues  and  ac- 
cepted January  23,  1907. 

GEORGE  BROWN  GOODE,  Assistant  Secretary  in  Charge  U.  S. 
National  Museum.  Crayon  bust. 

JEROME  HENRY  KIDDER.  By  Anton  Frey.  Crayon  bust.  Presented 
by  members  of  the  staff  of  the  Institution. 


78 


THE  NATIONAL  GALLERY  OF  ART 


Washington 

The  Lewis  collection  of  Washington  relics  purchased  by  the 
Government  in  1878,  stored  for  a time  at  the  Patent  Office, 
and,  with  one  exception,  transferred  to  the  National  Museum 
in  1883,  contains  the  following: 

PORTRAIT  OF  WASHINGTON.  By  unnamed  artist.  Half  length. 
Life  size.  It  is  said  that  this  portrait  was  regarded  by  the  family 
as  the  best  likeness  of  Washington  that  had  been  painted. 

MINIATURES  OF  GENERAL  AND  MRS.  WASHINGTON.  By  John 
Trumbull.  Executed  from  life  during  the  period  1792-1794, 
when  the  artist  spent  much  time  at  the  Executive  Mansion  in 
Philadelphia,  engaged  in  painting  his  full  length  portrait  of  the 
President.  Oil  on  wood,  in  the  original  frames,  which  measure 
7 by  6 inches.  The  oval  exposure  of  the  pictures  measures  jJ/t, 
by  2 inches. 

PAINTING  REPRESENTING  FALLS,  SUPPOSED  TO  BE  GENESEE 
FALLS,  NEW  YORK.  Oil  on  canvas.  39  by  49^  inches. 
This  picture  is  said  to  have  hung  in  the  home  of  Washington  at 
Mount  Vernon. 

MOONLIGHT  SCENE  FROM  A GROTTO  ON  A ROCKY  COAST, 
PROBABLY  ITALIAN.  Painting.  Oil  on  canvas.  3iby43>i 
inches.  From  Mount  Vernon,  like  the  last. 

MINIATURE  OF  BUSHROD  WASHINGTON.  By  Saint  M6min. 
Engraving  touched  up  with  crayon,  circular,  about  2%  inches  in 
diameter. 

THE  RIGHT  HONORABLE  COUNTESS  DOWAGER  OF  HUNT- 
INGTON. Engraved  by  J.  Fittler,  Engraver  to  His  Majesty.  From 
a painting  by  R.  Bowyer,  Miniature  Painter  to  His  Majesty.  Size 
of  impression  6%  by  5 % inches.  Presented  to  Washington  by  the 
Countess. 

The  following  plastic  representations  of  Washington  have 
also  been  added  to  the  collections  in  the  National  Museum : 

PLASTER  BUST  OF  WASHINGTON.  By  Clark  Mills,  1853.  Copy  of 
the  original  life  cast  made  by  Jean  Antoine  Houdon  at  Mount 
Vernon  in  1785.  Gift  of  Miss  Elizabeth  Bryant  Johnston,  June 
15.  1903- 

BRONZE  BUST  OF  WASHINGTON.  Copy  of  the  Houdon  bust. 
Cast  at  the  National  Fine  Art  Foundry,  New  York.  From  Maurice 
J.  Powers,  1889. 


THE  NATIONAL  GALLERY  OF  ART 


79 


PLASTER  STATUE  OF  WASHINGTON.  By  William  Rudolph  O'Don- 
ovan.  Life  size.  Military  uniform.  Copy  of  the  bronze  statue 
ordered  by  the  State  of  New  York  for  the  headquarters  at  New- 
burgh. From  Maurice  J.  Powers. 

The  Grant  Collection 

This  notable  collection,  presented  to  the  Government  in  1886 
for  deposit  in  the  National  Museum,  by  Mrs.  Julia  Dent  Grant 
and  William  H.  Vanderbilt,  contains,  among  many  examples 
of  fine  gold,  silver  and  bronze  work,  porcelain  vases,  etc.,  the 
following : 

BUST  OF  GENERAL  U.  S.  GRANT.  By  Joseph  A.  Bailly.  Life  size. 
In  marble. 

GENERAL  GRANT  AND  FAMILY.  By  W.  Cogswell,  1867.  Paint- 
ing. Life  size  group.  Oil  on  canvas. 

PORTRAIT  OF  GENERAL  WINFIELD  SCOTT.  By  William  Page. 
Full  length,  seated.  Oil  on  canvas.  60X  by  39^  inches. 

Gifts  to  the  Institution  by  John  Watts  de  Peyster 

COLONEL  DE  HEER  ABRAHAM  DE  PEYSTER.  By  George  E. 
Bissell.  Full  length  sitting  figure  in  bronze.  About  one-half  life 
size.  Model  of  the  heroic  statue  in  New  York,  28  inches  high. 
Signed. 

JOHN  WATTS: 

Full  length  figure  in  bronze.  By  George  E.  Bissell.  About  one- 
fourth  life  size.  18  inches  high.  Signed. 

Full  length  figure  in  bronze.  By  George  E.  Bissell.  About  one-fourth 
life  size.  18X  inches  high.  Signed. 

FREDERIC  DE  PEYSTER.  By  George  E.  Bissell.  Bronze  bust.  About 
one-half  life  size.  14^  inches  high. 

JOHN  WATTS  DE  PEYSTER.  Bronze  bust.  About  one-half  life  size. 
12  inches  high. 

NAPOLEON  I: 

Bronze  bust.  By  Canova.  About  one-half  life  size.  inches 

high. 

Bronze  bust.  By  L.  Kley.  5 inches  high.  Signed. 

Bronze  bust.  By  Lin&do.  8X  inches  high.  Signed. 

Bronze  statuette.  Seated.  5 inches  high. 

Plaster  statuette.  By  George  E.  Bissell.  15%  inches  high.  Signed. 
VOLTAIRE.  Bronze  bust.  SP2  inches  high. 

21394°— 16 6 


80 


THE  NATIONAL  GALLERY  OF  ART 


FIELD  MARSHAL.  Bronze  statuette.  6}4  inches  high. 

BRONZE  BUST  OF  A LADY.  By  Bouret.  gX  inches  high.  Signed. 

EGYPTIAN  RUNNER.  Statuette.  Reproduction  by  the  Henry- 
Bonnard  Bronze  Company,  New  York,  1886.  14  inches  high. 

TERRIER  DOG.  By  Jacquemart.  Bronze  figure.  20  inches  high. 
Signed. 

DOG  GAMBLER.  By  E.  Salmon.  Bronze  figure.  16  inches  high. 

DOG  TIPPOO  SAIB.  Bronzed  white  metal.  15 inches  high. 

Seven  paintings  by  Livingston,  oil  on  canvas:  Mount  Desert,  Maine,  1851 
(four);  Bear  Island  Light  House,  Maine;  Landscape;  and  Falls. 

Three  paintings  by  Henry  Inman,  oil  on  panel:  Cave  Scene;  Landscape; 
and  Portrait  bust  of  a Huguenot  Gentleman,  time  of  Charles  IX. 

PORTRAIT  bust  of  a Lady.  Oil  on  panel. 

PORTRAIT  bust  of  a Man.  Oil  on  canvas. 

Miscellaneous  Paintings 

PORTRAIT  OF  CHARLES  DARWIN.  By  E.  F.  Andrews.  Half 
length.  Oil  on  canvas.  30^  by  25  yi  inches.  Signed  and  dated 
1862. 

Presented  to  the  Museum  in  1883  by  the  artist. 

PORTRAIT  OF  ALFRED  VAIL.  By  J.  B.  Flagg.  Half  length.  Oil 
on  canvas.  30X  by  37X  inches. 

Bequest  of  Mrs.  Amanda  O.  Vail.  Received  June  8,  1894. 

PORTRAIT  OF  S.  F.  B.  MORSE.  By  E.  L.  Morse.  Head.  Oil  on 
canvas.  21^  by  15^  inches.  Signed  and  dated  1895. 

Painted  for  the  Museum  historical  collection  and  lent  by  the 

Telegraphic  Historical  Society,  April  22,  1896. 

PORTRAIT  OF  CYRUS  W.  FIELD.  By  Daniel  Huntington.  One- 
half  figure.  Oil  on  canvas.  14X  by  13X  inches.  Signed  and 
dated  1866. 

Lent  by  his  daughter,  Mrs.  Isabella  Field  Judson,  June  29, 
1897. 

MINIATURE  OF  CYRUS  W.  FIELD.  By  Henry  Shumway,  1893.  One- 
half  figure.  Oil  on  ivory.  5 by  4 inches. 

Lent  by  his  daughter,  Mrs.  Isabella  Field  Judson,  June  29, 
1897. 


THE  NATIONAL  GALLERY  OF  ART 


81 


THE  MARCH  OF  TIME.  By  Henry  Sandham.  Oil  on  canvas.  144  by 
252  inches.  Signed. 

Presented  to  the  Institution  by  the  artist,  November  22, 
1902.  This  picture  was  exhibited  in  the  National  Museum 
during  several  years  prior  to  its  presentation.  According  to 
the  artist,  the  subject  was  suggested  by  the  reunion  of  the 
Grand  Army  of  the  Republic  in  Boston  in  1889.  It  represents 
a parade  of  veterans  containing  the  portraits  of  many  soldiers 
who  were  conspicuous  in  the  civil  war,  from  the  grade  of  private 
to  the  rank  of  lieutenant-general.  On  the  right  is  a group  of 
women,  also  including  portraits  of  several  who  rendered  dis- 
tinguished services  in  the  same  connection. 

Painting  representing  a scene  from  the  story  of  the  GENTLEMAN  OF 
FRANCE.  By  Antoine  Etex.  Oil  on  wood.  6 by  n inches. 

This  little  picture,  presented  to  the  Museum  by  Mr.  Nathan 
Appleton,  December  12,  1903,  is  signed  Etex.  A slight  abra- 
sion of  the  paint  before  the  name  seems  to  have  removed 
an  initial.  Mr.  Appleton  states  that  the  painting  was  by 
Antoine,  who  was  born  in  Paris  in  1808  and  died  in  1888.  He 
was  a sculptor,  painter,  architect,  engraver,  and  writer  on  art 
subjects,  but  worked  chiefly  as  a sculptor. 

PORTRAIT  OF  GEORGE  CATLIN,  1796-1872.  By  W.  H.  Fisk,  R.  A., 
184.9.  Three-quarters  length,  oil  on  canvas.  49L2  by  39X  inches. 

Lent  to  the  National  Museum  by  Mrs.  Louise  Catlin  Kinney, 
May  24,  1904. 

PORTRAIT  OF  GENERAL  JOSt  ANTONIO  PAEZ,  1790-1873,  Liber- 
ator and  President  of  Venezuela.  By  John  J.  Peoli.  Full 
length,  in  military  uniform.  Oil  on  canvas.  85^  by  61 A inches. 
Signed  and  dated  1890. 

Presented  to  the  National  Museum  by  the  children  of  the 
artist  through  his  daughter,  Mrs.  Mary  Peoli  Maginn,  Decem- 
ber 7,  1905. 

PORTRAIT  OF  DR.  WILLIAM  T.  G.  MORTON.  By  William  Hudson, 
jr.  Half  length.  Oil  on  canvas.  36  by  29  inches.  Signed  and 
dated  1845. 

Gift  of  Dr.  William  James  Morton,  January  28,  1908. 


82 


THE  NATIONAL  GALLERY  OF  ART 


PORTRAIT  OF  THE  LATE  EMPRESS  DOWAGER  OF  CHINA,  Repre- 
senting Her  Majesty,  Tze  Hsi,  Seated  on  Her  Throne,  Sur- 
rounded with  the  Emblems  of  Good  Fortune.  Painted  by 
Katherine  A.  Carl , at  the  Imperial  Palace,  Peking,  1903,  and  pre- 
sented to  the  United  States  by  the  Government  of  China. 

CATLIN  INDIAN  PAINTINGS. 

This  collection,  referred  to  on  page  51,  was  presented  to  the 
Museum  in  1879  by  Mrs.  Joseph  Harrison,  of  Philadelphia. 

PAINTINGS  BY  J.  J.  AUDUBON. 

Some  years  ago  the  Museum  obtained  by  purchase  four  orig- 
inal paintings  of  birds  by  this  distinguished  ornithologist  and 
artist,  several  of  the  figures  of  which  were  reproduced  in  his 
well-known  work.  One  of  these  paintings  was  executed  in  oil 
on  canvas  and  represents  the  rose-breasted  grosbeak.  The 
others  are  water  colors  on  paper  and  depict  both  sexes  of  the 
cardinal,  the  purple  grackle  and  the  towhee.  The  Museum  also 
has  four  of  the  copper  plates  from  which  were  printed  the  illus- 
trations for  “The  Birds  of  America.” 

HISTORY  OF  PAINTING. 

A selection  of  about  250  of  the  celebrated  autotypes  published 
by  Adolph  Braun  & Co.,  of  Domach,  illustrating  the  history  of 
painting  from  the  time  of  Cimabue  and  Giotto.  Each  of  the 
greater  masters  is  represented  by  copies  of  from  one  to  six  paint- 
ings, as  far  as  it  was  possible  to  obtain  them. 

Miscellaneous  Sculpture,  Models,  Bronzes,  etc. 

The  Institution  and  Museum  have  received  many  objects  of 
art  other  than  paintings  which,  for  the  most  part,  have  not 
been  segregated  except  such  as  have  been  incorporated  in  the 
collections  illustrating  the  arts  and  crafts  and  American  his- 
tory. The  collection  of  busts  now  numbers  several  hundred, 
but  only  a very  few  of  these  are  of  more  than  historical  value. 
The  following  are  especially  worthy  of  mention: 

STATUE  OF  WASHINGTON.  By  Horatio  Greenough.  Colossal,  partly 
nude,  figure  in  Carrara  marble,  seated  in  a Roman  chair,  on  which 
are  carved  several  small  accessory  figures.  Washington  is  repre- 
sented with  his  right  hand  pointing  upward  and  with  his  left  holding 
a sheathed  sword.  Height  about  11  feet;  base,  5 feet  6 inches  by 
8 feet  6 inches. 


THE  NATIONAL  GALLERY  OF  ART 


83 


This  notable  work,  authorized  by  act  of  Congress,  July  14, 
1832,  was  intended  to  be  placed  in  the  center  of  the  rotunda  of 
the  Capitol,  above  a tomb  to  be  constructed  in  the  crypt  for 
the  remains  of  the  first  President.  The  statue  was  received 
from  Italy  in  1840,  and  although  those  in  charge  at  Mount  Ver- 
non declined  to  allow  the  removal  of  the  body  of  Washington, 
the  memorial  was  installed  the  next  year  in  the  rotunda  where 
it  remained  until  1843,  when  it  was  removed  to  the  Capitol 
grounds.  Through  the  long  exposure  in  the  open  air  it  has 
become  much  damaged  and  defaced.  Its  cost  was  $45,000. 

The  statue  was  transferred  to  the  custody  of  the  Smithsonian 
Institution  by  a joint  resolution  of  Congress  approved  May  22, 
1908,  as  follows:  “That  the  statue  of  President  Washington, 
now  located  in  the  Capitol  grounds  east  of  the  Capitol,  be,  and 
the  same  is  hereby,  transferred  to  the  custody  of  the  Smithso- 
nian Institution.”  The  expenses  of  the  transfer  were  provided 
for  by  the  following  item  in  the  deficiency  act  approved  May 
30,  1908:  “For  the  transfer  of  the  marble  statue  of  Washing- 
ton, by  Greenough,  from  the  plaza  in  front  of  the  Capitol  to  the 
Smithsonian  Institution,  under  the  direction  of  the  Secretary 
of  the  Smithsonian  Institution  and  the  Superintendent  of  the 
Capitol  Building  and  Grounds,  including  the  construction  of  a 
foundation  and  a marble  base,  five  thousand  dollars.” 

It  is  now  installed  in  the  northern  end  or  apse  of  the  west  hall 
of  the  Smithsonian  building,  on  a base  of  pinkish  gray  Tennessee 
marble,  about  3%  feet  high. 

MARBLE  BUST  OF  MAJOR  WALTER  REED,  Surgeon,  U.  S.  Army. 

By  Hans  Schuler,  of  Baltimore. 

Deposited  by  the  Walter  Reed  Memorial  Association,  1906. 

ANIMAL  SCULPTURE.  By  Edward  Kemeys. 

Since  1883  the  National  Museum  has  had  continuously  on 
exhibition  a greater  or  less  number  of  the  models  of  American 
animals,  in  both  bronze  and  plaster,  by  this  distinguished 
sculptor.  About  90  are  still  on  deposit,  the  property  of  Mrs. 
Kemeys.  The  Museum  owns  the  plaster  model  of  the  crouch- 
ing cougar,  called  The  Still  Hunt,  the  original  of  the  bronze 
cast  in  Central  Park,  New  York.  It  was  presented  by  the 
artist  in  1883. 


84 


THE  NATIONAL  GALLERY  OF  ART 


CHINESE  BRONZE  VASE  OF  THE  SHANG  DYNASTY,  1762  B.  C., 
With  Carved  Wooden  Stand.  For  holding  the  wine  used  in 
temples  for  libations.  Height  of  vase,  17  inches;  height  over  all, 
26%  inches. 

Presented  to  the  Museum  by  Chang  Yen  Hoon,  Chinese 
Minister  in  Washington,  1889. 

CHINESE  BRONZE  VASE  OF  THE  CHOW  DYNASTY,  About  2,500 
Years  Ago.  Contains  an  inscription  of  28  characters,  several  of 
which  are  illegible,  making  it  impossible  to  determine  the  precise 
date  of  its  manufacture.  Height  with  base,  1 1 yi  inches. 

Presented  to  the  Institution  by  His  Imperial  Chinese 
Majesty’s  Special  Ambassador  to  Queen  Victoria’s  Jubilee, 
August  n,  1897. 

HORACE  CAPRON  JAPANESE  COLLECTION. 

This  important  collection,  gathered  by  General  Capron  dur- 
ing a four  years’  residence  in  Japan,  1871  to  1875,  as  commis- 
sioner and  adviser  in  chief  to  the  Kai  Taku  Shi,  was  purchased 
for  the  Museum  by  act  of  Congress  approved  March  3,  1891, 
the  sum  appropriated  being  $10,000.  Many  of  the  pieces  are 
very  old  and  some  are  Imperial  gifts.  Besides  a series  of  63 
gold  and  silver  coins,  it  consists  of  151  articles,  including  48 
bronzes,  34  ivory  carvings,  36  examples  of  lacquer,  and  8 pieces 
of  Satsuma  faience. 

ALPHEUS  HYATT,  Naturalist,  1838-1902,  or  Cambridge,  Mass.  By 
Harriet  Hyatt  Mayer.  Plaster  life-size  relief.  Bust  in  profile. 
Circular.  Diameter  24  inches. 

Presented  to  the  National  Museum  February  5,  1904,  by  the 
artist. 

BENJAMIN  SILLIM AN,  Chemist.  By  Prof.  John  F.  Weir.  Plaster  copy 
of  the  bronze  statue  at  Yale  University.  8 feet  high. 

Presented  to  the  Institution  by  Benjamin  Silliman,  jr.,  1884. 

THOMAS  LE  CLEAR,  Painter.  By  William  R.  O’Donovan.  Plaster 
bust.  New  York,  1876. 

HODGKINS  MEDAL.  Smithsonian  Institution.  Original  plaster  models. 
Obverse  by  T.  C.  Chaplain,  Paris.  Diameter  gyi  inches.  Signed. 
Reverse  by  Augustus  Saint  Gaudens.  Diameter  7X  inches. 


THE  NATIONAL  GALLERY  OF  ART 


85 


HISTORY  OF  SCULPTURE. 

The  Museum  possesses  a series  of  plaster  casts  of  the  most 
famous  sculptures  of  the  Assyrians,  Egyptians,  Greeks,  and 
Romans,  designed  to  illustrate  the  history  of  glyptic  art.  It 
consists  of  the  tablet  of  the  Sun  God  of  Sippara,  several  slabs 
with  reliefs,  the  Wounded  Lioness,  Assyrian;  the  column  of 
Hammurabi  and  the  circular  monument  of  Tello,  Babylonian; 
the  lid  of  the  sarcophagus  of  Sebaksi,  the  recumbent  lion,  the 
lid  of  the  sarcophagus  of  Ankhur-ferabra,  Hapi,  God  of  the 
Nile,  Horus  with  Altar,  Egyptian;  the  Harpy  Tomb,  the  head 
of  the  Discobolus,  the  Laocoon  group,  the  Two  Fates,  the  Her- 
mes of  Andros,  Orpheus,  the  Eleusinian  relief,  Ceres,  eleven 
casts  from  Aretine  moulds  in  the  possession  of  the  Boston 
Museum  of  Fine  Arts,  Greek ; four  casts  from  the  Arch  of  Trajan, 
Roman;  and  a cast  of  the  statue  of  Moses  by  Michelangelo, 
Italian. 


THE  NATIONAL  GALLERY  OF  ART 

The  circumstances  which  led  to  the  assumption  in  1906  of 
the  title  National  Gallery  of  Art  have  been  noted  in  the 
Introduction  and  will  be  found  so  fully  discussed  on  later 
pages  that  little  need  be  said  upon  the  subject  in  this  con- 
nection. While  the  Smithsonian  Institution,  through  the 
Museum,  has  been  the  custodian  of  the  collections  of  art  as 
well  as  of  natural  history  belonging  to  the  nation  ever  since 
the  completion  of  its  building,  yet  the  fine  arts  have  been 
too  poorly  represented  to  warrant  their  segregation  under  a 
specific  designation.  With  the  bequest  of  Harriet  Lane  John- 
ston, however,  the  conditions  changed  and,  although,  under 
the  terms  of  the  fundamental  act  of  1846,  the  Board  of  Regents 
were  fully  entitled  to  employ  the  name  National  Gallery,  it  was 
necessary  to  justify  its  adoption  to  the  executors  of  Mrs.  John- 
ston’s will  by  action  of  the  Court.  In  the  light  of  subsequent 
events,  it  is  very  fortunate  that  such  a step  was  deemed  im- 
perative and  was  taken,  since  it  not  only  secured  to  the  people 
a gift  of  great  value,  but  also  inspired  an  active  and  widespread 
interest  in  the  subject.  This  benefaction  came,  it  would  seem, 
at  the  opportune  time,  as  it  was  immediately  followed  by  two 
gifts  of  exceptional  size  and  importance,  one  from  Mr.  Charles 
L.  Freer  the  other  from  Mr.  William  T.  Evans,  and  by  a num- 
ber of  smaller  donations.  The  lack  of  space,  soon  to  be  over- 
come, has  prevented  active  solicitation  in  behalf  of  this  depart- 
ment, and  has  caused  many  would-be  contributors  to  await 
the  better  accommodations  which  are  at  present  in  course  of 
adjustment. 

It  may  now  truly  be  said  that  the  National  Gallery  has  taken 
form  and  its  continued  progress  seems  assured,  although  it  is 
still  too  early  to  foretell  its  future  scope.  For  many  years  all 
the  departments  of  the  Museum  have  been  in  an  overcrowded 
condition,  amounting  almost  to  confusion  among  those  immense 
collections  which  are  not  on  public  exhibition.  The  large  addi- 
tional area  to  be  afforded  by  the  new  building  will  permit  the 

87 


88 


THE  NATIONAL  GALLERY  OF  ART 


restoration  of  order  and  the  entire  reorganization  of  the  collec- 
tions. One  of  the  first  acts  will  be  to  assemble  the  recent  do- 
nations of  paintings,  excepting  those  of  Mr.  Freer,  together 
with  a few  from  the  older  collections  and  several  interesting 
loans.  To  an  account  of  this  worthy  nucleus  the  following 
pages  are  entirely  restricted 

THE  HARRIET  LANE  JOHNSTON  COLLECTION 

Mrs.  Harriet  Lane  Johnston,  the  niece  of  James  Buchanan, 
who  accompanied  him  when  minister  abroad  and  who  was 
mistress  of  the  White  House  during  his  term  as  President,  had 
assembled  at  her  home  in  Washington  some  important  works 
of  art,  including  a number  of  paintings  by  distinguished  mas- 
ters, and  numerous  articles  of  historical  interest  and  value. 
Upon  her  decease  on  July  3,  1903,  it  was  found  that  she  had 
bequeathed  this  entire  collection  to  the  Corcoran  Gallery  of  Art 
under  certain  specified  conditions  and  subject  to  the  provision 
“that  in  the  event  that  the  Government  of  the  United  States 
shall  establish  in  the  city  of  Washington  a national  art  gallery 
that  the  said  articles  shall,  upon  the  establishment  of  said  na- 
tional art  gallery,  be,  by  the  said  trustees  of  the  Corcoran  Gal- 
lery of  Art  and  their  successors,  delivered  to  the  said  national 
art  gallery,  and  upon  such  delivery  shall  become  the  absolute 
property  of  the  said  national  art  gallery  established  by  the 
United  States.” 

The  conditions  were  of  such  a character  as  to  cause  the  Cor- 
coran Gallery  to  decline  the  bequest.  From  what  has  subse- 
quently been  learned  Mrs.  Johnston  seems  not  to  have  been 
aware  that  the  Smithsonian  Institution  had  been  named  as  the 
depository  for  the  objects  of  art  belonging  to  the  nation,  pos- 
sibly from  the  fact  that  it  had  never  been  formally  designated 
as  the  National  Gallery  of  Art. 

The  executors  of  the  will,  although  desiring  to  carry  out  its 
intent  and  render  possible  the  maintenance  of  the  collection  in 
its  integrity  in  Washington,  felt  themselves  without  authority 
to  award  it  to  the  Smithsonian  Institution  under  the  circum- 
stances, and  the  Congress  then  in  session  (1903-4)  was  too  near 


MRS.  HARRIET  LANE  JOHNSTON 

From  a Photograph  Taken  in  Paris  in  1898 


■ 


THE  NATIONAL  GALLERY  OF  ART 


89 


its  close  to  secure  what  was  then  deemed  necessary  legislation, 
although  an  appropriate  resolution  was  reported  from  the  Senate 
Committee  on  the  Library. 

The  annual  message  of  President  Roosevelt  to  the  Fifty- 
eighth  Congress,  third  session  (dated  December  6,  1904),  con- 
tains the  following  clause : 

“The  collection  of  objects  of  art  contemplated  in  section  5586 
of  the  Revised  Statutes  should  be  designated  and  established  as 
a national  gallery  of  art,  and  the  Smithsonian  Institution  should 
be  authorized  to  accept  any  additions  to  said  collection  that 
may  be  received  by  gift,  bequest,  or  devise.” 

No  action  followed  in  Congress,  but  the  executors  of  the 
Johnston  estate  still  feeling  it  incumbent  upon  them  to  prevent 
the  disposal  of  the  collection  by  sale,  filed  a suit  on  February  7, 

1905,  in  the  supreme  court  of  the  District  of  Columbia,  asking 
a construction  of  certain  doubtful  clauses  in  the  testament.  By 
direction  of  the  President,  the  Attorney-General,  on  behalf  of 
the  United  States,  on  February  10,  1905,  entered  its  appearance 
in  the  suit,  claiming  an  interest  in  the  matter. 

It  is  understood  that  all  the  legatees  under  the  will  agreed  to 
the  contention  of  the  Government  except  the  Harriet  Lane 
Home,  of  Baltimore,  founded  by  Mrs.  Johnston,  which  had  an 
interest  in  the  residuary  estate,  and  which,  from  a sense  of  obli- 
gation to  a public  charity,  deemed  a judicial  decision  necessary, 
although  at  least  some  of  the  trustees  of  the  Home  were  in  favor 
of  having  the  objects  kept  together  as  a perpetual  memorial  to 
their  deceased  relative  and  friend.  On  October  28,  1905,  the 
Government  filed  its  answer  to  the  bill  of  the  Harriet  Lane 
Home,  claiming  that  the  United  States  had  established  a Na- 
tional Art  Gallery  at  and  in  connection  with  the  Smithsonian 
Institution,  by  virtue  of  authority  granted  in  section  5586  of 
the  United  States  Revised  Statutes.  Testimony  was  submitted 
on  the  part  of  the  Institution  before  an  examiner  on  June  8, 

1906.  The  decision  was  favorable  to  the  Institution,  and  the 
decree  of  the  court  is  of  exceptional  importance,  since  it  defi- 
nitely establishes  the  fact  that  the  collection  of  art  contemplated 
in  the  fundamental  act  is  the  National  Gallery  of  Art  within 
the  meaning  and  intent  of  the  law. 


90 


THE  NATIONAL  GALLERY  OF  ART 


The  full  text  of  the  decree  is  as  follows : 


In  the  Supreme  Court  of  the  District  of  Columbia. 


D.  K.  Este  Fisher,  and  others,  Executors 
and  Trustees  under  the  Last  Will  and  Testa- 
ment of  Harriet  Lane  Johnston,  deceased, 
v. 

Harriet  Lane  Home  for  Invalid  Children 
of  Baltimore  City,  and  others. 


Equity,  No.  25,160.  Doc. 


This  cause  coming  on  for  hearing  in  respect  to  the  subject  matters  set 
forth  in  the  Thirteenth  Paragraph  of  the  Bill  of  Complaint;  the  allegations 
of  the  said  paragraph,  the  Answers  thereto  of  the  several  Defendants,  the 
provisions  of  the  Last  Will  and  Testament  and  of  the  several  codicils  thereto 
of  the  Testatrix,  Harriet  Lane  Johnston,  and  the  testimony  taken  on 
behalf  of  the  United  States  of  America  in  support  of  its  answer  to  the 
allegations  of  the  said  thirteenth  paragraph  of  the  Bill  of  Complaint,  having 
been  by  the  Court  (after  argument  of  counsel  for  the  United  States  of 
America  and  for  the  Defendant  the  Harriet  Lane  Home  for  Invalid  Children 
of  Baltimore  City,  the  residuary  legatee  and  devisee  named  in  the  said 
Last  Will  and  Testament  of  the  said  Testatrix)  fully  considered, 

It  is,  therefore,  on  this  eleventh  day  of  July,  in  the  year  1906,  by  the 
Supreme  Court  of  the  District  of  Columbia,  sitting  in  Equity,  and  by  the 
authority  thereof,  adjudged,  ordered  and  decreed, 

That  there  has  been  established  by  the  United  States  of  America  in  the 
City  of  Washington  a National  Art  Gallery,  within  the  scope  and  meaning 
of  that  part  of  the  codicil  bearing  date  April  21,  1902,  made  by  the  said 
Harriet  Lane  Johnston  to  her  Last  Will  and  Testament,  in  the  proceedings 
in  this  case  mentioned,  wherein  she  gave  and  bequeathed  the  pictures, 
miniatures  and  other  articles,  to  the  Trustees  of  the  Corcoran  Gallery  of  Art, 
and  in  the  event  of  the  Government  establishing  in  the  City  of  Washington 
a National  Art  Gallery,  then  that  the  said  pictures  and  other  articles  above 
mentioned  should  be  delivered  to  the  said  National  Art  Gallery  and  become 
its  property;  and  that  the  said  National  Art  Gallery  is  the  National  Art 
Gallery  established  by  the  United  States  of  America  at,  and  in  connection 
with,  the  Smithsonian  Institution  located  in  the  District  of  Columbia  and 
described  in  the  Act  of  Congress  entitled  an  Act  to  establish  the  “Smith- 
sonian Institution”  for  the  Increase  and  Diffusion  of  Knowledge  among 
men,  approved  August  10,  1846,  9 Stat.  L.  103,  (Title  LXXIII,  Section 
5579  R.  S.  U.  S.)  and  the  subsequent  Acts  of  Congress  amendatory  thereof; 
and  it  is  further  adjudged,  ordered  and  decreed,  that,  the  United  States  of 
America  is  entitled  to  demand  and  receive  from  the  surviving  Executors 
of  the  said  Harriet  Lane  Johnston,  the  Complainants  named  in  the  Bill  of 
Complaint  in  this  case,  all  of  the  above  mentioned  pictures,  articles  of 


THE  NATIONAL  GALLERY  OF  ART 


91 


sculpture,  engravings,  miniatures  and  other  articles,  the  same  to  be  and 
become  a part  of  the  said  National  Art  Gallery  so  established  by  the 
United  States  of  America  at,  and  in  connection  with,  the  said  Smithsonian 
Institution. 

And  whereas,  the  said  Testatrix,  Harriet  Lane  Johnston,  in  bequeathing 
the  said  pictures  and  other  articles  to  the  Trustees  of  the  Corcoran  Gallery 
of  Art,  in  and  by  the  codicil  hereinbefore  mentioned  to  her  said  Will,  made 
it  a condition  of  the  said  bequest  that  the  said  articles  should  be  kept 
together  in  a room  provided  for  the  purpose,  and  to  be  designated  as  the 
“Harriet  Lane  Johnston  Collection;”  and  whereas  it  is  apparent  that  it 
was  the  design  of  the  said  Testatrix  if  the  said  pictures  and  other  articles 
bequeathed  in  connection  with  the  same  should  belong  to,  and  become  a 
part  of  the  National  Art  Gallery  established  in  the  City  of  Washington  by 
the  United  States  of  America,  that  the  above  mentioned  provision  for  the 
keeping  together  in  a room  all  of  the  said  articles  so  bequeathed,  and  that 
the  same  should  be  designated  as  the  “Harriet  Lane  Johnston  Collection” 
(prescribed  as  the  condition  upon  which  the  same  should  become  the 
property  of  the  Trustees  of  the  Corcoran  Gallery  of  Art)  should  be  the 
condition  upon  which  they  should  become  part  of  the  National  Art  Gallery 
established  by  the  United  States  of  America, 

Now  therefore,  it  is  further  adjudged,  ordered  and  decreed,  as  a condition 
upon  which  the  title  of  the  United  States  of  America  shall  be  acquired  in  the 
said  pictures  and  other  articles  hereinbefore  mentioned,  that  the  same  shall 
all  be  kept,  so  as  to  form  one  distinct  collection,  in  one  hall  or  room  in  one 
of  the  buildings  of  the  Smithsonian  Institution,  the  several  classes  of  the 
said  articles  being  arranged  and  located  in  said  hall  or  room  according  to 
the  best  judgment  of  the  Secretary  of  the  Smithsonian  Institution;  and  that 
in  an  appropriate,  prominent  and  permanent  way,  the  said  Collection  shall 
be  designated  and  declared  to  be  the  “Harriet  Lane  Johnston  Collection.” 

And  it  is  further  adjudged,  ordered  and  decreed,  that  the  costs  of  the 
proceedings  in  this  case  in  connection  with  this  decree  shall  be  paid  by  the 
complainants  as  Executors  of  Harriet  Lane  Johnston,  deceased. 

WENDELL  P.  Stafford,  Justice. 

In  accordance  with  this  decree,  the  Harriet  Lane  Johnston 
collection  was,  by  an  order  of  the  court  dated  July  18,  1906, 
delivered  to  the  Smithsonian  Institution  on  August  3,  following, 
and  recorded  under  accession  No.  46,383.  It  was  immediately 
installed  in  the  reception  room  and  office  of  the  Secretary,  in  the 
Smithsonian  building,  where  it  remained  until  November  20, 
when  it  was  transferred  to  the  temporary  picture  gallery  in  the 
Museum  building.  In  this  place  the  paintings  and  marbles  are 
arranged  along  the  south  wall,  and  the  miscellaneous  objects  in 
an  exhibition  case  close  by.  The  total  number  of  pieces  is 
thirty-one,  as  described  below. 


92 


THE  NATIONAL  GALLERY  OF  ART 


CATALOGUE  OF  THE  HARRIET  LANE  JOHNSTON  COLLECTION 

Paintings 

Beechey,  Sir  William. 

Born  in  Burford,  Oxfordshire,  England,  1753;  died  in  Hampstead,  1839. 
Became  a student  of  the  Royal  Academy,  London,  in  1772.  Painted  por- 
traits and  pictures  in  Hogarth’s  manner  for  several  years  in  Norwich,  after 
which  he  returned  to  London,  where  for  a long  period  he  enjoyed  unin- 
terrupted favor  with  the  fashionable  world.  In  1793  he  was  appointed 
royal  portrait  painter  by  Queen  Charlotte,  whose  portrait  he  executed, 
and  became  A.  R.  A.  In  1798  he  was  knighted  by  King  George  III  for  his 
equestrian  picture,  now  at  Hampton  Court,  which  represents  the  King 
reviewing  troops  in  Hyde  Park,  and  the  same  year  he  was  made  R.  A. 
PORTRAIT  OF  MISS  MURRAY. 

On  canvas,  30  H.,  25  W. 


Brown,  John  Henry. 

Born  in  Lancaster,  Pa.,  1818.  Painter  of  miniature  portraits  on  ivory 
and  canvas.  Self-taught.  He  began  his  professional  career  in  1845  in 
Philadelphia,  where  he  subsequently  resided.  Pie  was  eminently  suc- 
cessful and  had  many  distinguished  sitters,  among  whom  were  James 
Buchanan  and  Abraham  Lincoln.  Of  the  former  he  painted  two  por- 
traits, one  of  which  is  that  named  below.  Mr.  Brown  was  elected  a mem- 
ber of  the  Philadelphia  Academy  of  Fine  Arts  in  1862.  He  received  a 
medal  for  ivory  miniatures  at  the  Centennial  Exhibition  of  1876. 

MINIATURE  OF  PRESIDENT  BUCHANAN. 

Oil  on  ivory.  Oval;  5 H.,  W. 

Constable,  John. 

Born  at  East  Bergholt,  in  Suffolk,  England,  1776;  died  in  London,  1837. 
Landscape  painter,  and  R.  A.  The  following  characterization  of  Consta- 
ble’s work  is  from  the  Illustrated  Catalogue  of  Paintings  in  the  Metropoli- 
tan Museum  of  Art,  1905:  “His  style  was  very  broad  and  powerful,  and 
his  landscapes  are  possessed  of  a noble  quality  which  reveals  the  beauty 
of  English  cultivated  scenery  in  the  most  charming  manner,  and  his  land- 
scapes, in  which  mills,  weirs,  and  dykes  are  prominent  features,  often 
glisten  with  the  early  morning  dew,  or,  wet  with  rain,  sparkle  in  the  sun- 
light bursting  through  the  storm  clouds  in  the  sky.  He  was  both  vigor- 
ous and  realistic;  strong  in  his  originality,  yet  refined  and  cultivated  in 
his  mind.  His  pictures  possess  a quality  which  fill  a place  unoccupied  by 
any  other  English  landscape  painter,  and  they  have  done  much  to  form 
the  style  of  the  modern  French  landscape  school.” 

THE  VALLEY  FARM. 

One  of  several  copies  of  the  same  subject  by  Constable. 

On  canvas,  25  H.,  29^  W. 


JOHN  HOPPNER  MRS.  ABINGTON 

Harriet  I.ake  Johnston  Collection 
(See  page  95) 


THE  NATIONAL  GALLERY  OF  ART 


93 


Eicholtz,  Jacob. 

Born  in  the  Borough  of  Lancaster,  Pa.,  1776;  died,  1842.  Portrait 
painter.  Mainly  self-taught,  but  received  some  lessons  from  Thomas  Sully, 
and  encouragement  from  Gilbert  Stuart. 

PORTRAIT  OF  PRESIDENT  BUCHANAN. 

This  portrait  represents  Mr.  Buchanan  at  the  age  of  about  40  years, 
having  been  painted  just  before  his  departure  as  American  Minister  to 
Saint  Petersburg. 

On  canvas,  36  H.,  28 X W. 

Gordon,  Sir  John  Watson. 

Born  in  Edinburgh,  1798;  died,  1864.  Student  of  Trustees  Academy, 
Edinburgh.  In  his  early  life  painted  genre  and  historical  pictures,  but  in 
his  later  years  devoted  himself  almost  exclusively  to  portraits,  painting  a 
large  number  of  his  more  distinguished  countrymen.  He  was  one  of  the 
first  members  of  the  Royal  Scottish  Academy,  and  was  elected  its  Presi- 
dent in  1851.  He  exhibited  frequently  at  the  London  Royal  Academy,  of 
which  he  was  made  Associate  in  1841,  and  Academician  ten  years  later. 
He  was  appointed  by  the  Queen  Limner  for  Scotland,  and  received  the 
order  of  knighthood. 

PORTRAIT  OF  THE  PRINCE  OF  WALES  (KING  EDWARD  VII). 

Presented  to  Mr.  Buchanan  by  the  Prince,  under  date  of  March  29,  1862. 

On  canvas,  50  H.,  40  W. 

The  painting  and  presentation  of  this  portrait  followed  the 
visit  of  the  Prince  of  Wales  to  the  United  States  in  i860.  Two 
letters  written  by  Queen  Victoria  to  President  Buchanan  in 
reference  to  that  event  are  of  so  much  interest  that  they  are 
reproduced  here,  as  is  also  the  letter  of  the  Prince  which  accom- 
panied the  gift.  The  originals  belong  with  the  Harriet  Bane 
Johnston  collection. 

Buckingham  Paeace. 

June  22,  i860. 

My  good  Friend: 

I have  been  much  gratified  at  the  feelings  which  prompted  you  to  write 
to  me,  inviting  the  Prince  of  Wales  to  come  to  Washington.  He  intends 
to  return  from  Canada  through  the  United  States,  & it  will  give  him  great 
pleasure  to  have  an  opportunity  of  testifying  to  you  in  person,  that  those 
feelings  are  fully  reciprocated  by  him.  He  will  thus  be  able  at  the  same 
time  to  mark  the  respect  which  he  entertains  for  the  Chief  Magistrate  of  a 
great  & friendly  State  & kindred  Nation. 


94 


THE  NATIONAL  GALLERY  OF  ART 


The  Prince  will  drop  all  Royal  state  on  leaving  my  dominions  & travel 
under  the  name  of  Lord  Renfrew  as  he  has  done  when  travelling  on  the 
Continent  of  Europe. 

The  Prince  Consort  wishes  to  be  kindly  remembered  to  you. 

I remain, 

Ever, 

Your  good  friend 


Victoria. 


Windsor  Castle. 

Nov.  ig,  i860. 

My  good  Friend: 

Your  letter  of  the  6"  ult : has  afforded  me  the  greatest  pleasure,  contain- 
ing, as  it  does,  such  kind  expressions  with  regard  to  my  Son,  & assuring 
me  that  the  character  & object  of  his  visit  to  you  & to  the  United  States 
have  been  fully  appreciated,  & that  his  demeanour  & the  feelings  evinced 
by  him  have  secured  to  him  your  esteem  & the  general  good  will  of  your 
Countrymen. 

I purposely  delayed  the  answer  to  your  letter  until  I should  be  able  to 
couple  with  it  the  announcement  of  the  Prince  of  Wales’s  safe  return  to  his 
home.  Contrary  winds  & stress  of  weather  have  much  retarded  his  arrival, 
but  we  have  been  fully  compensated  for  the  anxiety  which  this  long 
delay  has  naturally  caused  us,  by  finding  him  in  such  excellent  health  and 
spirits  & so  delighted  with  all  he  has  seen  & experienced  in  his  travels.  He 
cannot  sufficiently  praise  the  great  cordiality  with  which  he  has  been 
everywhere  greeted  in  your  Country  & the  friendly  manner  in  which  you 
have  received  him;  & whilst,  as  a Mother,  I am  most  grateful  for  the  kind- 
ness shown  him,  I feel  impelled  to  express  at  the  same  time  how  deeply  I 
have  been  touched  by  the  many  demonstrations  of  affection  personally 
towards  myself,  which  his  presence  has  called  forth. 

I fully  reciprocate  towards  your  Nation  the  feelings  thus  made  apparent, 
& look  upon  them  as  forming  an  important  link  to  connect  two  Nations 
of  kindred  origin  & character,  whose  mutual  esteem  & friendship  must 
always  have  so  material  an  influence  upon  their  respective  development  & 
prosperity. 

The  interesting  and  touching  scene  at  the  grave  of  General  Washington, 
to  which  you  allude,  may  be  fitly  taken  as  the  type  of  our  present  feeling, 
& I trust,  of  our  future  relations. 

The  Prince  Consort,  who  heartily  joins  in  the  expressions  contained  in 
this  letter,  wishes  to  be  kindly  remembered  to  you,  as  we  both  wish  to  be 
to  Miss  Lane. 


Believe  me  always, 

Your  good  friend 


Victoria. 


SIR  THOMAS  LAWRENCE  LADY  ESSEX  AS  JULIET 

Harriet  Lane  Johnston  Collection 
(See  page  95) 


THE  NATIONAL  GALLERY  OF  ART 


95 


Jaffa,  March  29th,  1862. 

Dear  Mr.  Buchanan: 

Permit  me  to  request  that  you  will  accept  the  accompanying  portrait  as 
a slight  mark  of  my  grateful  recollection  of  the  hospitable  reception  and 
agreeable  visit  at  the  White  House  on  the  occasion  of  my  tour  in  the  United 
States. 

Believe  me  that  the  cordial  welcome  which  was  then  vouchsafed  to  me 
by  the  American  people,  & by  you  as  their  Chief,  can  never  be  effaced  from 
my  memory. 

I venture  to  ask  you  at  the  same  time  to  remember  me  kindly  to  Miss 
Lane, 

& Believe  me, 

Dear  Mr.  Buchanan, 

Yours  very  truly, 

Albert  Edward. 

The  eavelope  was  addressed : “The  Hon’ble  James  Buchanan, 
Ex-President  of  the  United  States,  U.  S.  A.” 


Hoppner,  John. 

Born  in  Whitechapel,  London,  England,  1758;  died  there,  1810.  Was  a 
pupil  of  the  Royal  Academy,  beginning  1775.  By  the  patronage  of  the 
Prince  of  Wales,  he  became  a fashionable  portrait  painter.  Was  a fine 
colorist  and  also  painted  a few  fancy  subjects.  The  Prince  and  the  Duke  and 
Duchess  of  York  were  among  his  sitters.  A.  R.  A.  in  1793;  R.  A.  in  1795. 

PORTRAIT  OF  MRS.  ABINGTON. 

On  canvas,  30^  H.,  25%  W. 

Jansen,  (Janssens):  Cornelis-J anson  van  CeulEn. 

Bom  probably  at  Amsterdam,  Holland,  in  1594;  died  about  1664.  Por- 
trait painter.  Had  attained  considerable  celebrity  at  home  when,  in  1618, 
he  went  to  England  where  he  remained  until  1648,  meeting  with  very  flat- 
tering encouragement.  He  then  settled  at  Utrecht. 

PORTRAIT  OF  MADAME  TULP. 

On  canvas,  44%  H.,  35 K W. 


Lawrence,  Sir  Thomas. 

Born  in  Bristol,  England,  1769;  died  in  London,  1830.  This  famous  por- 
trait painter  showed  evidences  of  his  gift  when  a mere  child,  and  at  the  age 
of  ten  years  started  as  a portrait  painter  in  crayons  at  Oxford,  soon  after- 
ward moving  to  Bath.  He  began  to  use  oils  when  seventeen,  and  a year 
later,  settling  in  London,  became  a student  at  the  Royal  Academy.  In 
21394°— 16 7 


96 


THE  NATIONAL  GALLERY  OF  ART 


1791,  he  was  made  an  Associate  of  the  Academy,  though  under  the  age 
limit  required  by  law.  After  the  death  of  Reynolds,  the  following  year, 
he  was  appointed  painter  to  the  King.  He  was  elected  a Royal  Academi- 
cian in  1794,  was  knighted  in  1815,  and  at  the  death  of  Benjamin  West,  in 
1820,  was  unanimously  elected  President  of  the  Academy.  He  was  also 
a member  of  many  foreign  academies,  including  St.  Luke  at  Rome,  and  in 
1825  was  made  a Chevalier  of  the  Legion  of  Honor.  From  1787  to  1830, 
he  contributed  311  pictures  to  the  exhibitions  of  the  Royal  Academy. 

PORTRAIT  OF  LADY  ESSEX  AS  JULIET. 

On  canvas,  57  H.,  40^  W. 


Luini,  Bernardino. 

Born  in  Luino,  on  the  Lago  Maggiore,  Italy,  about  1460;  died,  about 
1535.  He  was  a pupil  of  Stefano  Scotto,  but  in  the  middle  part  of  his 
career  became  a follower  of  Leonardo  da  Vinci.  His  early  works  bear  no 
trace  of  Leonardo’s  style,  and  his  late  productions  evince  much  originality, 
with  Leonardo’s  manner  for  a basis.  There  is  the  same  taste  in  his  com- 
position and  design,  the  same  peculiarity  of  color  and  extraordinary  relief; 
and  it  requires  an  intimate  acquaintance  with  the  works  of  Leonardo  to 
discriminate  between  them.  He  worked  in  the  churches  of  Milan  and  the 
neighboring  towns.  Milan,  Saronno,  and  Lugano  still  possess  his  best 
pictures,  which  for  sweetness  and  depth  of  feeling  are  unrivalled.  Of  his 
fresco  paintings,  the  principal  are  the  Christ  crowned  with  Thorns,  in  the 
Collegio  del  S.  Sepolcro,  those  in  the  choir  of  the  Monastero  Maggiore  at 
Milan,  and  those  at  Saronno. 

MADONNA  AND  CHILD. 

On  panel,  56X  H.,  49 X W. 


Mayer,  Frank  Blackwell. 

Born,  Baltimore,  Md.,  Dec.  27,  1827;  died,  July  28,  1899.  Studied  under 
Alfred  J.  Miller  in  Baltimore,  and  Gleyre  and  Brion  in  Paris;  subsequently 
settled  in  Annapolis,  Md.  Portrait  and  genre  painter,  and  made  a large 
series  of  life  studies  of  Indian  types  and  character.  Exhibited  at  Paris 
Salons  between  1864  and  1869,  and  in  New  York,  Philadelphia,  Washington, 
and  Baltimore.  Received  a medal  and  diploma  at  the  Centennial  Exhibi- 
tion of  1876,  and  a medal  from  the  Maryland  Institute.  His  paintings  are 
to  be  found  in  many  private  collections. 

INDEPENDENCE. 

On  card  board,  12  H.,  16  W. 


BERNARDINO  LUINI  MADONNA  AND  CHILD 

Harriet  Lane  Johnston  Collection 
(See  page  96) 


THE  NATIONAL  GALLERY  OF  ART 


97 


Pennington,  Harper. 

Born  at  Newport,  R.  I.,  1854.  Pupil  of  G6r6me  at  the  Ecole  des  Beaux- 
Arts,  of  Carolus  Duran  and  of  Whistler,  1874-1886,  during  which  period  he 
also  spent  some  time  in  Italy. 

PORTRAIT  OF  JAMES  BUCHANAN  JOHNSTON. 

This  portrait  of  the  son  of  Harriet  Lane  Johnston  was  painted  after  his 
death  in  1881,  at  the  age  of  14  years. 

On  canvas,  29  H.,  i8,K  W. 


Pourbus,  Francis,  The  Younger. 

Born  in  Antwerp,  1569;  died  in  Paris,  1622.  In  1589  he  restored  the 
large  altar-piece  of  the  Passion  in  the  church  of  Our  Lady  at  Bruges.  In 
1591  he  was  admitted  as  free  master  into  the  Guild  of  St.  Luke  at  Antwerp. 
In  1600  he  was  working  at  Brussels  for  the  Archduke  Albert.  Thence  he 
went  to  Mantua,  where  he  became  Court  painter.  In  1609  he  accompanied 
Eleanor  of  Mantua  to  Paris,  and  being  appointed  painter  to  her  sister, 
Queen  Marie  de  Medici,  settled  in  that  city. 

PORTRAIT  OF  JQSEPHA  BOEGART. 

Lady  in  waiting  to  Marie  de  Medici,  wife  of  Henry  IV  of  France. 

On  panel,  25  H.,  19^  W. 


Reynolds,  Sir  Joshua. 

Born  in  Plympton  Earl,  Devonshire,  England,  1723;  died  in  London, 
1792.  Displayed  much  talent  for  drawing  when  quite  young.  Was  sent 
to  London  in  1740,  to  study  under  Hudson,  with  whom  he  remained  three 
years,  making  exceptional  progress.  After  two  years  at  Plymouth  he  re- 
turned to  London,  but  in  1749  he  proceeded  to  Italy  where  he  remained 
three  years,  studying  and  painting  in  Rome,  Parma,  Florence,  and  Venice. 
From  1752  until  his  death  he  was  settled  in  London,  and  during  this  period, 
or  until  1789,  when  defective  eyesight  caused  him  to  relinquish  the  use  of 
his  brush,  his  life  was  one  unbroken  success.  He  excelled  as  a portrait 
painter  and  especially  as  a painter  of  children.  When  the  Royal  Academy 
was  founded  in  1 768,  he  was  elected  its  President  by  acclamation,  and 
received  the  honor  of  knighthood  from  the  king. 

PORTRAIT  OF  MRS.  HAMMOND. 

On  canvas,  30  H.,  25  W. 


98 


THE  NATIONAL  GALLERY  OF  ART 


Romney,  George. 

Bom  in  Dalton-le-Furness,  Lincolnshire,  England,  in  1734;  died  at 
Kendal,  1802.  After  acquiring  some  knowledge  of  the  subject  from  a local 
painter  at  Kendal,  he  supported  himself  by  painting  portraits  in  the  north 
of  England  until  1762,  when  he  went  to  London.  He  was  awarded  pre- 
miums in  that  year  and  in  1765  by  the  Society  of  Arts.  After  a two  years 
absence  in  Italy  beginning  in  1773,  he  established  himself  in  London, 
where,  until  1797  when  he  removed  to  Hampstead,  he  divided  public 
patronage  with  Reynolds  and  Gainsborough.  He  painted  with  few  colors, 
with  great  breadth  of  treatment,  and  in  some  instances  with  exceeding 
grace  and  sentiment.  His  portraits  are  preserved  in  several  national  and 
other  public  galleries,  and  in  many  private  collections. 

PORTRAIT  OF  MISS  KIRKPATRICK. 

According  to  the  will  of  Mrs.  Johnston,  this  portrait  was  purchased  from 
one  of  the  family  for  which  it  was  painted. 

On  canvas,  30X  H.,  25  W. 

Rossiter,  Thomas  Prichard. 

Born  in  New  Haven,  Conn.,  1817;  died,  1871.  Painter,  mainly  of  his- 
torical and  scriptural  subjects  and  of  portraits.  Studied  in  New  Haven 
under  Nathaniel  Jocelyn,  and  in  London  and  Paris.  Had  studios  suc- 
cessively in  Rome,  New  York  and  Paris.  From  1856  until  his  death  he 
resided  permanently  in  this  country,  first  in  New  York  City  and  subse- 
quently at  Cold  Spring.  He  was  awarded  a gold  medal  at  the  Universal 
Exhibition  of  1855.  Member,  National  Academy  of  Design. 

THE  PRINCE  OF  WALES  (KING  EDWARD  VII)  AND  PRESIDENT 

BUCHANAN,  WITH  THE  PRINCE’S  SUITE,  MEMBERS  OF  THE 

PRESIDENT’S  CABINET  AND  OTHER  GUESTS,  AT  THE  TOMB 

OF  WASHINGTON,  MOUNT  VERNON,  i860. 

On  canvas,  27^  H.,  54  W. 

Weeks,  Edwin  Lord. 

Born  in  Boston,  Mass.,  1849;  died,  1903.  Landscape  and  figure  painter. 
Pupil  of  the  Ecole  des  Beaux-Arts,  Bonnat  and  G6r6me  in  Paris.  Sketched 
and  painted  in  Cairo,  Jerusalem,  Damascus,  and  Tangier,  and  is  especially 
noted  for  pictures  of  Eastern  life.  He  received  honorable  mention  at  the 
Paris  Salon,  1884;  and  was  subsequently  awarded  medals  at  the  Salon, 
1889;  Paris  Exp.  1889;  Art  Club,  Phila.  1891;  London  Exp.  1896; 
Dresden,  1897;  Munich,  1897;  Pan-American  Exp.,  Buffalo,  1901.  Chev- 
alier of  the  Legion  of  Honor,  1896;  Officer,  Order  of  St.  Michael  of  Bavaria; 
member  Paris  Soc.  Amer.  Painters  and  Boston  Art  Club. 

A STREET  SCENE  IN  THE  EAST. 

Signed.  On  canvas,  28^  H.,  24  W. 


SIR  JOSHUA  REYNOLDS  MRS.  HAMMOND 

Harriet  Lane  Johnston  Collection 
(See  page  97) 


THE  NATIONAL  GALLERY  OF  ART 


99 


Unknown  Artist.  (After  Correggio.) 

MADONNA  AND  CHILD. 

On  canvas,  21L+  H.,  15%  W. 


Sculpture 

Dexter,  Henry. 

Born  in  Nelson,  Madison  County,  N.  Y.,  1806;  died,  1876.  One  of  the 
pioneers  of  American  sculpture.  Self-taught.  He  had  some  success  as  a 
portrait  painter  in  Providence,  R.  I.,  but  taking  up  his  permanent  residence 
in  Cambridge,  Mass.,  in  1839,  he  turned  his  attention  the  following  year  to 
sculpture,  to  which  he  afterwards  confined  himself.  He  achieved  special 
success  in  portrait  busts,  of  which  he  executed  nearly  two  hundred,  his 
subjects  including  many  prominent  persons,  such  as  Dickens,  Longfellow, 
Agassiz,  and  the  Governors  of  thirty-one  States  holding  office  in  i860. 
He  also  executed  several  noteworthy  statues. 

MARBLE  BUST  OF  PRESIDENT  BUCHANAN. 

Pleroic  size.  H.  25  inches. 


Rinehart,  William  Henry. 

Born  in  Frederick,  Md.,  1825;  died,  1874.  Sculptor.  In  his  youth 
studied  in  the  night  schools  of  the  Maryland  Institute,  Baltimore.  Was 
in  Florence,  Italy,  from  1855  to  1858,  when  he  returned  to  Baltimore,  but 
after  a short  stay  he  went  again  to  Italy  and  established  a studio  in  Rome, 
where  the  remainder  of  his  life  was  spent.  Besides  classical  and  ideal 
subjects,  he  executed  many  portrait  busts  and  the  statue  of  Chief  Justice 
Taney  at  Annapolis,  Md. 

MARBLE  BUST  OF  HENRY  ELLIOT  JOHNSTON. 
Husband  of  Harriet  Lane  Johnston. 

Heroic  size.  H.  28Jf  inches. 

MARBLE  CUPID. 

Henry  E.  Johnston,  Jr.,  son  of  Harriet  Lane  Johnston,  at  the  age  of  two 
years,  as  cupid  stringing  his  bow. 

H.  42^  inches. 


Miscellaneous 


ROMAN  MOSAIC. 
Origin  unknown. 


Circular,  diameter  iojf  inches. 


100 


THE  NATIONAL  GALLERY  OF  ART 


SILVER  MEDAL  STRUCK  IN  COMMEMORATION  OF  THE  MAR- 
RIAGE OF  VICTORIA,  PRINCESS  ROYAL  OF  ENGLAND,  TO 

FREDERICK  WILLIAM,  PRINCE  OF  PRUSSIA,  ON  JANUARY 

25,  1858. 

Diameter  -2]/2  inches.  Obverse:  Profile  portraits,  in  high  relief,  facing 
left,  of  the  Prince  and  Princess,  encircled  by  the  inscription,  “victoria 
PRINCESS  ROYAL  OF  ENGLAND.  FREDERICK  WILLIAM  PRINCE  OF  PRUSSIA.” 
Reverse:  Wreath,  in  high  relief,  of  roses,  lilies,  thistles,  etc.;  in  center, 
“January  xxv  MDCCCLVin”.  This  medal  was  executed  by  L.  C.  Wyon, 
and  this  copy  was  presented  to  President  Buchanan  with  the  following 
letter  from  Albert,  Prince  Consort,  which  is  also  in  the  Johnston  collection: 

My  dear  Mr.  Buchanan: 

The  belief,  that  your  recollection  of  the  time  passed  by  you  in  England 
will  have  made  you  feel  an  interest  in  the  late  happy  marriage  of  our  eldest 
Daughter,  induces  me  to  send  for  your  acceptance  a Medal  struck  in  com- 
memoration of  that  event.  You  will,  I think,  be  able  easily  to  recognise  the 
Princess  Royal’s  features;  the  likeness  of  Prince  Frederick  William  is  also 
very  good. 

Trusting  that  your  health  continues  unimpaired  notwithstanding  the 
manifold  duties  of  your  high  & responsible  office,  in  which  hope  the  Queen 
joins  with  me, 

I remain  ever, 

My  dear  Mr.  Buchanan, 

Yours  truly,  Albert. 

Buckingham  Palace, 

February  16,  1858. 


CONGRATULATORY  MESSAGE  FROM  QUEEN  VICTORIA  TO 
PRESIDENT  BUCHANAN  ON  THE  COMPLETION  OF  THE 
FIRST  ATLANTIC  CABLE,  AND  THE  REPLY  OF  THE  PRESI- 
DENT. 

These  were  the  first  messages  transmitted  by  electric  cable 
across  the  Atlantic  Ocean.  The  message  from  the  Queen  is  the 
original  tape  copy  as  received  from  the  telegraph  office  in  Wash- 
ington, while  that  of  President  Buchanan  is  in  printed  form. 
Both,  with  three  explanatory  messages,  are  framed  together, 
and  are  as  follows: 

Trinity  Bay,  Aug.  XVIth.  Hon.  The  President  of  the  United  States. 
Her  Majesty  desires  to  congratulate  the  President  upon  the  successful 
completion  of  this  great  international  work  in  which  the  Queen  has  taken 
the  deepest  interest.  No  signature. 

Trinity  Bay,  Aug.  XVIIth.  E.  M.  Archibald,  N.  York.  Queens  message 
completed  at  five  this  morning.  It  was  commenced  yesterday  and  during 


GEORGE  ROMNEY  MISS  KIRKPATRICK 

Harriet  Lane  Johnston  Collection 
(See  page  y8) 


THE  NATIONAL  GALLERY  OF  ART 


101 


its  reception  Valentia  desisted  sending  it  in  order  to  make  slight  repairs 
to  cable.  Through  a mistake  the  part  received  was  sent  south  as  if  it 
constituted  the  whole  message.  De.  Sauty. 

N.  York,  Aug.  XVIIth.  To  the  Honorable  The  President  of  the  United 
States,  Washn.  I beg  leave  to  transmit  a message  this  moment  received 
from  Trinity  Bay  explaining  the  cause  which  prevented  the  whole  of  the 
Queens  message  being  telegraphed  from  Valentia  yesterday  together  with  the 
complete  message  itself.  Shall  we  consider  your  message  to  Her  Majesty  a 
full  reply  and  date  it  this  day  accordingly.  The  operators  at  Trinity  Bay 
await  your  answer.  Peter  Cooper. 

Valentia  via  Trinity  Bay.  To  the  President  of  the  United  States,  Washn. 
The  Queen  desires  to  congratulate  the  President  upon  the  successful  com- 
pletion of  this  great  international  work  in  which  the  Queen  has  taken  the 
deepest  interest.  The  Queen  is  convinced  that  the  President  will  join  with 
her  in  fervently  hoping  that  the  electric  cable  which  now  connects  Great 
Britain  with  the  United  States  will  prove  an  additional  link  between  the 
Nations  whose  friendship  is  founded  upon  their  common  interest  and 
reciprocal  esteem.  The  Queen  has  much  pleasure  in  thus  communicating 
with  the  President  and  renewing  to  him  her  wishes  for  the  prosperity  of  the 
United  States. 

Trinity  Bay,  Aug.  XIXth.  The  Hon,  The  President  of  the  U.  S.,  Wash- 
ington. Your  message  in  reply  to  that  of  the  Queens  was  transmitted  to 
Valentia  at  seven  this  morning.  Its  transmission  was  delayed  until  ten. 
Some  cause  occurring  at  Valentia  with  which  I am  yet  unacquainted. 
De.  Sauty. 

Washington  City,  August  16th,  1858.  To  Her  Majesty  Victoria,  the 
Queen  of  Great  Britain:  The  President  cordially  reciprocates  the  congratu- 
lations of  Her  Majesty,  the  Queen,  on  the  success  of  the  great  international 
enterprise  accomplished  by  the  science,  skill  and  indomitable  energy  of  the 
two  countries.  It  is  a triumph  more  glorious,  because  far  more  useful  to 
mankind,  than  was  ever  won  by  conqueror  on  the  field  of  battle.  May  the 
Atlantic  Telegraph,  under  the  blessing  of  Heaven,  prove  to  be  a bond  of 
perpetual  peace  and  friendship  between  the  kindred  nations,  and  an 
instrument  destined  by  Divine  Providence  to  diffuse  religion,  civilization, 
liberty  and  law  throughout  the  world. 

In  this  view,  will  not  all  nations  of  Christendom  spontaneously  unite  in 
the  declaration  that  it  shall  be  forever  neutral,  and  that  its  communications 
shall  be  held  sacred  in  passing  to  their  places  of  destination,  even  in  the 
midst  of  hostilities? 

QUEEN  VICTORIA,  panel  photograph  of,  with  autograph  signature  and 
date  1898.  Presented  to  Mrs.  Johnston  by  Her  Majesty  in  June,  1898. 


102 


THE  NATIONAL  GALLERY  OF  ART 


GAVEL  used  at  the  Convention  at  Cincinnati,  Ohio,  in  June,  1856,  at  which 
Mr.  Buchanan  was  nominated  for  the  Presidency. 

BIBLE  on  which  Mr.  Buchanan  took  the  oath  of  office  as  President  of  the 
United  States,  March  4,  1857.  This  bible  belonged  to  Mrs.  SalieS. 
Carroll,  by  whom  it  was  presented  to  President  Buchanan  in  a letter 
herewith  reproduced. 

My  dear  Mr.  Buchanan 

Having  heard  that  a desire  has  been  expressed  by  you  or  some  member 
of  your  family  to  possess  the  copy  of  the  Bible  upon  which  was  administered 
to  you  the  oath  of  office  as  President  of  the  U.  States,  & readily  under- 
standing how  it  would  be  treasured  by  any  of  your  family  or  friends,  & the 
more  so  if  presented  by  yourself,  I cheerfully  put  aside  my  own  appreciation 
of  it  as  a memento  of  the  occasion  and  of  the  kind  consideration  of  my 
Husband  in  presenting  it  to  me,  and  beg  that  you  will  do  me  the  favor  to 
accept  it  through  the  hands  of  a mutual  friend  to  whom  I have  entrusted 
it  for  you. 

I remain  very  respectfully  your  friend, 

Salie  S.  Carroll. 

Washington  7 Decr  1859. 

JOHN  HAMPDEN,  old  Engraving  of  a portrait  of,  presented  to  President 
Buchanan  by  Mr.  McGregor,  M.  P.,  for  Glasgow. 


THE  CHARLES  L.  FREER  COLLECTION 

Under  date  of  December  27,  1904,  Mr.  Charles  L.  Freer,  of 
Detroit,  Mich.,  transmitted  to  the  Smithsonian  Institution  an 
offer  to  bequeath  or  make  present  conveyance  of  title  to  his 
extensive  art  collection  to  the  Institution  or  the  United  States 
Government,  under  certain  specified  conditions,  and  to  furnish 
the  means  for  erecting,  after  his  death,  a suitable  building  to 
receive  the  collection,  provided  the  Institution  or  the  Govern- 
ment would  undertake  its  maintenance.  This  communication 
was  prefaced  with  the  following  explanation: 

These  several  collections  include  specimens  of  very  widely  separated 
periods  of  artistic  development,  beginning  before  the  birth  of  Christ  and 
ending  to-day.  No  attempt  has  been  made  to  secure  specimens  from 
unsympathetic  sources,  my  collecting  having  been  confined  to  American 
and  Asiatic  schools.  My  great  desire  has  been  to  unite  modern  work  with 
masterpieces  of  certain  periods  of  high  civilization  harmonious  in  spiritual 
and  physical  suggestion,  having  the  power  to  broaden  esthetic  culture  and 
the  grace  to  elevate  the  human  mind. 


THE  NATIONAL  GALLERY  OF  ART 


103 


These  collections  I desire  to  retain  during  my  life  for  the  enjoyment  of 
students,  my  friends  and  myself,  and  for  the  further  purpose  of  making 
additions  and  improvements  from  time  to  time.  Believing  that  good 
models  only  should  be  used  in  artistic  instruction,  I wish  to  continue  my 
censorship,  aided  by  the  best  expert  advice,  and  remove  every  undesirable 
article,  and  add  in  the  future  whatever  I can  obtain  of  like  harmonious 
standard  quality. 

This  generous  tender  received  consideration  at  the  annual 
meeting  of  the  Board  of  Regents,  January  25,  1905,  at  which  a 
committee  was  appointed  to  wait  upon  Mr.  Freer  in  Detroit, 
and  to  make  such  an  examination  of  the  collection  as  it  deemed 
necessary.  Some  slight  verbal  changes  in  the  wording  of  the 
offer,  thought  advisable  from  a legal  point  of  view,  were  agreed 
to  by  Mr.  Freer,  who  addressed  the  revised  form  to  the  President 
of  the  United  States.  Under  the  modified  conditions  Mr. 
Freer’s  offer  was  accepted  by  the  Board  of  Regents  at  their 
annual  meeting,  January  24,  1906.  Mr.  Freer’s  letter  to  the 
President  was  as  follows : 

Washington,  D.  C.,  December  15,  1905. 

To  the  President: 

Permit  me  to  repeat  my  offer  to  bequeath  my  art  collections  to  the 
Smithsonian  Institution  or  to  the  United  States  Government,  and  also  the 
sum  of  $500,000  in  money  for  the  purpose  of  constructing  a suitable  build- 
ing in  which  to  house  them,  upon  the  following  terms  and  conditions: 

First.  The  sum  of  $500,000  shall  be  paid  by  my  executors  to  the  Regents 
of  the  Smithsonian  Institution  or  the  United  States  Government  promptly 
after  my  decease,  and  shall  be  used  forthwith  for  the  construction  of  a fire- 
proof building  connected  with  the  National  Museum,  the  construction  of 
which  has  been  recently  authorized,  or  reasonably  near  thereto. 

Second.  The  interior  of  this  building  shall  be  arranged  with  special  re- 
gard for  the  convenience  of  students  and  others  desirous  of  an  opportunity 
for  uninterrupted  study.  A suitable  space  shall  be  provided  in  which  the 
Peacock  Room  should  be  re-erected  complete.  The  whole  interior  ar- 
rangement of  the  building  shall  be  agreed  upon  between  the  Regents  of 
the  Smithsonian  Institution  and  myself  within  a reasonable  time  after 
the  acceptance  of  this  oiler. 

Third.  The  collections,  with  such  additions  thereto  as  shall  be  made 
during  my  lifetime,  shall  be  delivered  by  my  executors  to  the  Regents 
immediately  after  the  building  is  constructed  and  ready  to  receive  them. 

Fourth.  The  collections  and  the  building  shall  be  cared  for  and  main- 
tained perpetually  by  the  Smithsonian  Institution  or  the  United  States 
Government  at  its  own  expense. 

Fifth.  No  addition  or  deduction  shall  be  made  to  the  collections  after 
my  death,  and  nothing  else  shall  ever  be  exhibited  with  them,  or  in  the 


104 


THE  NATIONAL  GALLERY  OF  ART 


same  building,  nor  shall  the  said  collections,  or  any  part  thereof,  be  re- 
moved at  any  time  from  the  said  building  except  when  necessary  for  the 
purpose  of  making  repairs  or  renovations  in  the  building. 

Sixth.  No  charge  shall  ever  be  made  for  admission  to  the  building  or 
for  the  privilege  of  examining  or  studying  the  collections. 

Seventh.  The  collections  and  building  shall  always  bear  my  name  in 
some  modest  and  appropriate  form. 

In  lieu  of  the  foregoing  offer,  I am  willing,  upon  the  conditions  above 
expressed,  to  make  a present  conveyance  of  the  title  to  said  collections 
to  the  Institution  or  the  Government,  and  a bequest  of  the  sum  of  $500,000 
for  the  building,  provided: 

1.  The  collections  shall  remain  in  my  possession  during  my  life,  and  in 
the  possession  of  my  executors  after  my  death  until  the  completion  of  the 
building. 

2.  I shall  have  the  right  to  make  such  additions  to  the  collections  as  may 
seem  to  me  advisable  or  necessary  for  the  improvement  of  the  collections, 
or  any  of  them. 

3.  On  or  before  April  next  I will  file  with  the  officials  of  the  Smithsonian 
Institution  or  the  United  States  Government  a descriptive  inventory  of 
the  objects  belonging  to  the  collections. 

4.  Both  I and  my  executors  shall  be  free  from  any  liability  on  account 
of  any  loss  in  or  danger  that  may  accrue  to  the  collections  while  in  my  or 
their  charge,  even  though  such  loss  or  injury  shall  occur  by  reason  of  my 
or  their  negligence,  or  the  negligence  of  my  or  their  servants,  agents  or 
employees. 

The  exact  form  of  the  bequest  or  gift,  and  the  details  for  carrying  it 
into  execution,  are  legal  questions  that  can  be  agreed  upon  by  counsel 
representing  the  Institution  or  the  Government  and  myself. 

I am,  with  great  respect,  very  sincerely  yours, 

Charles  L.  Freer. 

Following  is  the  resolution  of  acceptance,  adopted  by  the 
Board  on  January  24,  1906: 

“The  Board  of  Regents,  recognizing  the  great  value  to  the 
people  of  the  United  States  of  the  art  collection  so  generously 
offered  by  Mr.  Charles  L.  Freer,  of  Detroit,  Michigan; 

“ Resolved, , That  the  Board  of  Regents  of  the  Smithsonian 
Institution  do  hereby  accept  the  tender  of  Mr.  Freer  to  make 
present  conveyance  to  the  Institution  of  the  title  to  his  art 
collection,  and  to  bequeath  to  the  Institution  the  sum  of 
$500,000  for  the  construction  of  a fireproof  building  in  which 
to  house  it,  under  the  terms  as  stated  in  his  communication  to 
the  President  of  the  United  States  dated  December  15,  1905.” 

The  title  to  the  collection  as  then  constituted,  consisting  of 


THE  NATIONAL  GALLERY  OF  ART 


105 


over  2,250  objects,  was  conveyed  to  the  Institution  on  May  5, 
1906.  During  the  succeeding  three  years  Mr.  Freer  made  im- 
portant additions,  numbering  614  pieces,  which  were  transferred 
in  the  same  manner  on  April  11,  1908,  and  May  10,  1909.  The 
terms  of  the  first  conveyance,  to  which  the  other  two  conform, 
were  as  follows : 

Know  all  men  by  these  presents  that  Charles  L.  Freer,  of  the  city  of 
Detroit,  county  of  Wayne,  and  State  of  Michigan,  party  of  the  first  part, 
for  and  in  consideration  of  the  sum  of  one  dollar  and  of  other  valuable 
considerations  to  him  in  hand  paid  by  the  Smithsonian  Institution,  an 
establishment  created  by  act  of  Congress,  party  of  the  second  part,  the 
receipt  whereof  is  acknowledged,  has  bargained  and  sold,  and  by  these 
presents  does  grant  and  convey  unto  the  said  party  of  the  second  part, 
and  unto  its  successors,  the  art  objects  belonging  to  said  party  of  the  first 
part  and  now  in  his  possession  at  No.  33  Ferry  avenue  east,  in  the  city  of 
Detroit,  Michigan,  particularly  enumerated  in  the  printed  inventory  hereto 
attached  and  made  a part  hereof;  to  have  and  to  hold  the  same  unto  the 
said  party  of  the  second  part,  and  its  successors  forever. 

The  said  party  of  the  first  part  for  himself,  his  heirs,  executors  and  ad- 
ministrators, does  covenant  and  agree  to  and  with  the  said  party  of  the 
second  part,  and  its  successors,  to  warrant  and  defend  the  sale  .hereby 
made  of  said  property,  goods  and  chattels  unto  the  said  party  of  the  sec-, 
ond  part,  and  its  successors,  against  all  and  every  person  or  persons 
whatsoever. 

This  transfer  and  sale  is  made  by  said  party  of  the  first  part,  and  is 
accepted  by  said  party  of  the  second  part,  upon  the  following  terms  and 
conditions,  which  are  hereby  declared  to  be  binding  obligations  upon  the 
parties  hereto: 

1 . Said  first  party  shall  bequeath  to  said  party  of  the  second  part  under 
the  terms  of  his  last  will  and  testament  the  sum  of  five  hundred  thousand 
dollars,  which  shall  be  paid  by  the  executors  of  said  party  of  the  first  part 
to  said  party  of  the  second  part  promptly  after  the  death  of  said  party  of 
the  first  part.  Said  sum  shall  be  used  forthwith  after  the  receipt  thereof 
by  said  party  of  the  second  part  exclusively  in  the  construction  and  equip- 
ment of  a fireproof  building  connected  with  the  National  Museum,  or 
reasonably  near  thereto,  upon  a site  to  be  furnished  by  said  party  of  the 
second  part,  according  to  plans  and  specifications  which  shall  be  agreed 
upon  as  soon  as  may  be  after  the  date  hereof  between  said  party  of  the 
first  part  and  the  Regents  of  said  Institution;  provided  that  any  portion 
of  said  sum  that  shall  remain  unexpended  after  a building  planned  to 
take  said  sum  for  its  construction  and  equipment  shall  have  been  com- 
pleted may  be  used  by  said  Institution  for  purposes  connected  with  said 
building  and  its  collection.  Said  building  shall  be  used  exclusively  for 
storing  and  exhibiting  the  objects  covered  by  this  instrument  and  such 
objects  as  may  hereafter  be  transferred  by  said  first  party  to  said  second 


106 


THE  NATIONAL  GALLERY  OF  ART 


party.  In  the  event  that  plans  and  specifications  are  not  agreed  upon 
prior  to  the  death  of  said  first  party,  said  building  shall  be  constructed 
and  equipped  by  said  Institution  with  the  sum  so  bequeathed  with  special 
regard  for  the  convenience  of  students  and  others  desirous  of  an  oppor- 
tunity for  uninterrupted  study  of  the  objects  embraced  hereunder.  A 
suitable  space  shall  be  provided  in  said  building  in  which  the  Peacock 
Room  mentioned  in  said  inventory  shall  be  re-erected  complete. 

2.  Said  first  party  may  add  other  appropriate  objects,  to  be  selected  by 
him,  to  those  enumerated  in  said  inventory,  and  such  other  objects  when 
transferred  to  said  second  party  shall  be  subject  in  all  respects  to  the 
terms  and  conditions  enumerated  in  this  instrument. 

3.  The  objects  embraced  in  said  inventory,  with  such  additions  thereto 
as  shall  be  made  by  said  first  party  during  his  lifetime  and  transferred  to 
said  second  party,  shall  be  delivered  by  the  executors  of  said  first  party  to 
said  Institution  in  said  building  immediately  after  the  building  shall  have 
been  constructed  and  ready  to  receive  them. 

4.  The  said  building,  when  constructed,  and  the  objects  when  delivered, 
shall  be  cared  for  and  maintained  perpetually  by  said  second  party,  or  its 
successors,  at  its  own  expense. 

5.  After  such  delivery  no  addition  shall  be  made  to  said  objects,  nor 
shall  any  deduction  be  made  therefrom,  and  no  other  objects  of  any  kind 
shall  ever  be  exhibited  in  connection  with  said  objects,  or  in  the  same 
building,  nor  shall  the  said  objects,  or  any  part  thereof,  be  removed  at 
any  time  from  said  building,  except  when  necessary  for  the  purpose  of 
making  repairs  or  renovations  in  the  building. 

6.  No  charge  shall  ever  be  made  for  admission  to  the  building  nor  for 
the  privilege  of  examining  or  studying  the  objects  contained  therein. 

7.  The  collections  and  building  shall  always  bear  the  name  of  said  first 
party  in  some  modest  and  appropriate  form. 

8.  All  objects  covered  by  said  inventory  and  by  said  subsequent  trans- 
fers shall  remain  in  the  possession  of  said  first  party  during  his  lifetime, 
and  in  the  possession  of  his  executors  after  his  death  until  the  said  building 
is  fully  completed.  Said  first  party  shall  have  the  right  during  his  life- 
time to  loan  any  of  said  objects  for  exhibition  purposes. 

9.  Said  first  party  and  his  executors  shall  be  free  from  any  liability  on 
account  of  any  loss  in  or  damage  that  may  accrue  to  the  whole  or  any  of 
said  objects  before  the  delivery  thereof  to  said  second  party,  notwith- 
standing the  fact  that  such  loss  or  damage  may  accrue  by  reason  of  his 
or  their  negligence  or  the  negligence  of  his  or  their  servants,  agents  or 
employees. 

It  is  the  intention  and  meaning  of  the  parties  hereto  that  the  title  to 
the  objects  mentioned  in  the  inventory  hereto  attached  passes  immediately 
to  said  second  party,  and  that  the  title  to  all  objects  which  may  be  added 
to  those  in  said  inventor y mentioned,  and  which  may  be  covered  by  subse- 
quent transfers  to  said  second  party,  shall  pass  immediately  to  said  second 
party,  upon  the  delivery  to  it  of  each  instrument  of  subsequent  transfer. 


THE  NATIONAL  GALLERY  OF  ART 


107 


In  witness  whereof  the  said  party  of  the  first  part  has  hereunto  set  his 
hand  and  seal,  and  said  party  of  the  second  part  has  caused  this  instru- 
ment to  be  executed  in  duplicate  by  its  Acting  Secretary  and  its  seal  to 
be  hereto  affixed,  this  fifth  day  of  May,  1906. 

(Signed)  Charles  L.  Freer,  [seal.] 

Smithsonian  Institution, 
(Signed)  By  Richard  Rathbun,  [seal.] 

Acting  Secretary. 

Signed,  sealed  and  delivered  in  presence  of — 

(Signed)  Herbert  E.  Boynton,  [seal.] 

(Signed)  Frank  W.  Hackett.  [seal.] 

Each  of  the  conveyances  is  accompanied  by  a printed  inven- 
tory in  which  all  the  objects  are  described  in  a manner  to  insure 
their  identification.  It  is  the  intention  of  Mr.  Freer  to  prepare 
and  publish  at  a future  date  a full  descriptive  catalogue  for  the 
use  of  students  and  others  interested  in  art.  In  this  connec- 
tion only  such  a summary  of  the  contents  of  the  collection  is 
given  as  will  serve  to  convey  to  the  public  some  idea  of  its  char- 
acter, richness  and  extent. 

[Since  the  execution  of  the  original  deed  of  gift  in  1906,  Mr. 
Freer  has  added  2,485  objects  to  this  collection  through  six 
supplemental  transfers,  the  last  dated  January  1 1 , 1915,  whereby 
the  extent  of  this  remarkable  donation  to  the  public  has  been 
more  than  doubled,  now  embracing  approximately  4,811  exam- 
ples, of  which  991  are  American  and  3,820  oriental.  It  is  also 
of  extreme  interest  to  note  that  Mr.  Freer  has  not  only  increased 
to  one  million  dollars  the  provision  for  housing  this  collection, 
but,  in  November,  1915,  waiving  the  original  conditions,  he 
decided  upon  the  early  erection  of  the  structure,  thereby  per- 
mitting the  transfer  of  the  collection  to  Washington  within  a 
comparatively  short  time.  The  site  selected  for  this  purpose 
is  in  the  Smithsonian  reservation  west  of  the  Smithsonian 
building.  January,  1916.] 

SUMMARY  OF  THE  CHARLES  L.  FREER  COLLECTION 
American  Paintings,  Drawings,  Sketches,  etc. 

Dewing,  Thomas  Wilmer. 

Born,  Boston,  Mass.,  May  4,  1851.  Pupil  of  Boulanger  and  Lefebvre  in 
Paris.  Clarke  prize,  Nat.  Acad.  Design,  1887;  silver  medal,  Paris  Exp., 
1889;  gold  medals,  Pan-Amer.  Exp.,  Buffalo,  1901,  and  St.  Louis  Exp.,  1904; 


108 


THE  NATIONAL  GALLERY  OF  ART 


Lippincott  prize,  Pa.  Acad.  Fine  Arts,  1906;  first  medal,  Carnegie  Inst., 
1908.  N.  A.,  1888;  member,  Nat.  Inst.  Arts  and  Letters.  Specialty,  por- 
traits and  figures.  Studio,  New  York. 

Oil  Paintings — 

Portrait  of  a Young  Girl. 

The  Piano. 

The  Blue  Dress. 

After  Sunset. 

The  Carnation. 

Parly  Portrait  of  the  Artist’s  Daughter. 

Before  Sunrise. 

Portrait  in  Blue. 

Study  of  a Woman  Seated. 

A Portrait. 

Girl  with  Lute. 

Portrait  of  a Girl. 

Portrait  of  the  Artist’s  Daughter. 

Portrait  of  Thomas  W.  Dewing. 

Mandolin. 

La  Comedienne. 

The  Mirror. 

The  Four  Sylvan  Sounds.  (Painted  on  2 two-fold  wood  screens.) 
Yellow  Tulips. 

A Lady  Playing  the  Violoncello. 

The  Garland. 

The  Blue  Dress. 

The  Lute. 

In  White. 

Pastels — 

Sappho. 

The  Pink  Dress. 

The  Pearl. 

Nude  Study. 

In  Rose. 

Pastel  No.  4. 

Pastel  No.  6. 

Pastel  No.  14. 

Pastel  No.  20. 


THE  NATIONAL  GALLERY  OF  ART 


109 


Dewing,  Thomas  Wilmer — Continued. 

Silver  Points — 

Study  of  a Hbad. 

Study  of  a Nudb  Model. 

Study  of  a Young  Woman’s  Head  in  Two  Tones. 

Hassam,  Childe. 

Bom,  Boston,  Oct.  17,  1859.  Pupil  of  Boulanger  and  Lefebvre  in  Paris. 
Bronze  medal,  Paris  Exp.,  1889;  gold  medal,  Munich,  1892;  medal,  Art 
Club,  Phila.,  1892;  medal,  Columbian  Exp.,  Chicago,  1893;  prize,  Cleve- 
land Art  Assoc.,  1893;  Webb  prize,  Soc.  Amer.  Artists,  1895;  prize,  Boston 
Art  Club,  1896;  second  class  medal,  Carnegie  Institute,  1898;  Temple  gold 
medal.  Pa.  Acad.  Fine  Arts,  1899;  silver  medal,  Paris  Exp.,  1900;  gold 
medal,  Pan-Amer.  Exp.,  Buffalo,  1901;  gold  medal,  St.  Louis  Exp.,  1904; 
Clarke  prize,  Nat.  Acad.  Design,  1905;  third  class  medal,  Carnegie  Insti- 
tute, 1905;  Lippincott  prize,  Pa.  Acad.  Fine  Arts,  1906;  Carnegie  prize, 
Soc.  Amer.  Artists,  1906;  third  prize,  Worcester,  1906;  Sesnan  gold  medal. 
Pa.  Acad.  Fine  Arts,  19x0;  third  W.  A.  Clark  prize,  Corcoran  Art  Gallery, 
19x0;  Evans  prize,  Amer.  Water  Color  Soc.,  1912.  N.  A.,  1906;  member, 
Amer.  Water  Color  Soc.;  Boston  Art  Club;  Nat.  Inst.  Arts  and  Letters; 
Munich  Secession;  Assoc.  Soc.  Nat.  des  Beaux- Arts.  Studio,  New  York. 

Oil  Painting — 

The  Chinese  Merchants. 

Homer,  Winslow. 

This  noted  landscape,  marine  and  genre  painter  was  bom  in  Boston,  Feb. 
24,  1836,  and  died  at  Searboro,  Me.,  Sept.  29,  1910.  Beginning  work  for  a 
lithographer  when  nineteen  years  old,  he  took  up  painting  and  illustrating 
two  years  later.  He  came  to  New  York  in  1859  and  for  a short  time  studied 
at  the  National  Academy  of  Design  and  with  Frederick  Rondel.  He  was 
sent  by  Harper  & Brothers  to  make  war  paintings  in  1861;  subsequently 
painted  many  pictures  of  Negro  life,  and  a visit  to  the  Adirondacks  inspired 
camping  scenes  with  mountain  guides.  Next  he  traveled  in  England  and 
France.  He  is  best  known,  however,  by  his  pictures  of  the  Maine  coast, 
where  for  many  years  he  lived  the  life  of  a recluse  at  Searboro.  He  was 
elected  an  Associate  in  1864,  and  an  Academician  the  following  year,  of  the 
National  Academy  of  Design;  and  was  a member  of  the  American  Water 
Color  Society  and  the  National  Institute  of  Arts  and  Letters.  Among  the 
awards  which  he  received  were,  the  first  prize,  $1,500,  Carnegie  Institute, 
1896;  gold  medal  at  the  Pennsylvania  Academy  of  Fine  Arts,  1896;  gold 
medal  at  the  Paris  Exposition,  1900;  gold  medal  at  the  Pan-American 
Exposition,  1901 ; Temple  gold  medal  at  the  Pennsylvania  Academy  of  Fine 
Arts  in  1902;  and  gold  medals  at  the  Charleston  Exposition,  1902,  and  the 
St.  Louis  Exposition,  1904. 


110 


THE  NATIONAL  GALLERY  OF  ART 


Homer,  Winslow — Continued. 

Oil  Painting — 

Early  Evening. 

Water  Colors — 

Waterfall  in  the  Adirondack. 

A Fisherman’s  Day. 

Sun  and  Cloud. 

MelchERS,  J.  Gari. 

Bom,  Detroit,  Mich.,  Aug.  n,  i860.  Pupil  of  Dusseldorf  Academy; 
Lefebvre  and  Boulanger  in  Paris.  Hon.  mention,  Paris  Salon,  1886;  first 
class  medal,  Amsterdam,  1887;  third  class  medal,  Paris  Salon,  1888;  first 
class  medal,  Munich,  1888;  grand  prize,  Paris  Exp.,  1889;  first  prize,  Art 
Inst.  Chicago,  1891;  medal  of  honor,  Berlin,  1891;  gold  medal,  Art  Club, 
Phila.,  1892;  medal  of  honor,  Antwerp,  1894;  Temple  gold  medal,  Pa.  Acad. 
Fine  Arts,  1896;  first  class  medal,  Vienna,  1898;  gold  medal,  Pan-Amer. 
Exp.,  Buffalo,  1901,  and  St.  Louis  Exp.,  1904;  second  W.  A.  Clark  prize, 
Corcoran  Gallery  of  Art,  1910.  Officer  of  the  Royal  Bavarian  Order  of  St. 
Michael;  Chevalier  of  the  Legion  of  Honor  of  France,  1895,  Officer,  1904; 
Officer,  Royal  Prussian  Order  of  the  Red  Eagle,  1907;  Officer,  Grand  Ducal 
Order  The  White  Falcon  of  Saxony,  1911.  N.  A.,  1906;  member,  Nat.  Inst. 
Arts  and  Letters;  Paris  Soc.  Amer.  Painters;  Soc.  Nat.  des  Beaux-Arts, 
Paris;  Inter.  Soc.  of  Artists,  London;  Royal  Soc.  Austrian  Painters,  Vienna; 
Munich  Secession;  Berlin  Royal  Acad.  Studio,  Paris,  France. 

Oil  Painting — 

Portrait  of  President  Roosevelt. 

Sargent,  John  Singer. 

Bom,  Florence,  Italy,  of  American  parents,  Jan.  12,  1856.  Pupil  of 
Academy  of  Fine  Arts,  Florence;  Carolus  Duran  in  Paris.  Hon.  mention, 
Paris  Salon,  1878;  second  class  medal,  Paris  Salon,  1881;  medal  of  honor, 
Paris  Exp.,  1889;  medal,  Art  Club,  Phila.,  1890;  medal,  Columbian  Exp., 
Chicago,  1893;  Temple  gold  medal,  Pa.  Acad.  Fine  Arts,  1894;  medal  of 
honor,  Paris  Exp.,  1900;  gold  medal,  Pan-Amer.  Exp.,  Buffalo,  1901;  Con- 
verse gold  medal,  Pa.  Acad.  Fine  Arts,  1903;  large  gold  medal,  Berlin,  1903; 
grand  prize,  St.  Louis  Exp.,  1904;  gold  medal  of  honor,  Liege  Exp.,  1905; 
gold  medal,  Venice,  1907;  Beck  gold  medal,  Pa.  Acad.  Fine  Arts,  1909. 
Chevalier  of  the  Legion  of  Honor,  France,  1889,  Officer,  1897;  Royal  Acad., 
London,  A,  1894,  R.  A.,  1897;  Institute  de  France,  1905;  Order  of  Merit, 
Germany,  1909.  N.  A.,  1897;  member.  Mural  Painters;  Copley  Soc.  (hon.); 
Amer.  Inst.  Arch,  (hon.);  Phila.  Water  Color  Club  (hon.);  Amer.  Acad. 
Arts  and  Letters;  Paris  Soc.  Amer.  Painters;  Soc.  Nat.  des  Beaux-Arts, 
Paris;  Berlin  Acad.  Portrait  and  mural  painter.  Studio,  Chelsea,  Lon- 
don, and  Broadway,  England. 


THE  NATIONAL  GALLERY  OF  ART 


111 


Sargent,  John  Singer — Continued. 

Oil  Paintings — 

Landscape  with  Goats. 

The  Weavers. 

Smith,  Joseph  Lindon. 

Bom,  Pawtucket,  R.  I.,  Oct.  n,  1863.  Pupil  of  Boston  Museum  School 
under  Crowninshield  and  Grundmann;  Julian  Acad.,  Paris,  under  Boulan- 
ger and  Lefebvre.  Beck  prize,  Phila.  Water  Color  Club,  1905.  Decora- 
tion of  the  III  Order,  Medjidi,  from  the  Sultan  of  Turkey.  Has  taken  part 
in  recent  excavations  in  Egypt  and  has  painted  in  many  countries  in  the 
Orient.  Member,  Mural  Painters;  Boston  Soc.  Arts  and  Crafts;  Copley 
Soc.  Painter,  sculptor,  lecturer,  teacher.  Studio,  Boston,  Mass. 

Oil  Paintings — 

Priestess  from  Ankor-Wat,  Cambodia.  Indo-China. 

Seated  Buddha,  from  the  Monument  of  Boro-Boedor,  Java. 

Thayer,  Abbott  Handerson. 

Bom,  Boston,  Aug.  12,  1849.  Pupil  of  ijcole  des  Beaux- Arts  in  Paris 
under  Gerome  and  Lehmann.  N.  A.,  1901;  member,  Nat.  Inst.  Arts  and 
Letters;  L’lnsigne  Reale  Accademia  Romana  delle  Belle  Arti  Denominata 
di  San  Luca.  Portraits,  landscapes  and,  later,  principally  ideal  figure 
pictures.  Studio,  Monadnock,  N.  H. 

Oil  Paintings — 

Head. 

Portrait  of  the  Artist’s  Son. 

Portrait  of  the  Artist’s  Eldest  Daughter. 

The  Virgin. 

Diana. 

Sketch  of  Cornish  Headlands. 

Capri. 

Monadnock  in  Winter. 

Winged  Figure. 

Portrait  of  a Lady. 

Monadnock  No.  2. 

Water  Color — 

Monadnock  Mountain. 


21394'— 16- 


112 


THE  NATIONAL  GALLERY  OF  ART 


Tryon,  Dwight  William. 

Bom,  Hartford,  Conn.,  Aug.  13,  1849.  Pupil  of  C.  Daubigny,  Jacques- 
son  de  la  Chevreuse,  A.  Guillemet,  and  H.  Harpignies  in  Paris.  Bronze 
medal,  Boston,  1882;  gold  medals,  Amer.  Art.  Assoc.,  New  York,  1886  and 
1887;  third  Hallgarten  prize,  Nat.  Acad.  Design,  1887;  Ellsworth  prize, 
Chicago  Art  Inst.,  1888;  Palmer  prize,  Chicago  Interstate  Exp.,  1889; 
Webb  prize,  Soc.  Amer.  Artists,  1889;  first  class  gold  medal,  Munich  Inter- 
nal Exp.,  1892;  gold  medal,  Columbian  Exp.,  Chicago,  1893;  first  prize, 
Cleveland  Interstate  Exp.,  1895,  and  Tenn.  Centennial,  1897;  gold  medal 
($1,500),  1898,  chronological  medal,  1899,  Carnegie  Inst.,  Pittsburgh;  gold 
medals,  Pan-Amer.  Exp.,  Buffalo,  1901,  and  vSt.  Eouis  Exp.,  1904;  silver 
medal,  Panama-Pacific  Intemat.  Exp.,  San  Francisco,  1915.  N.  A.,  1891; 
member,  Amer.  Water  Color  Soc.;  Nat.  Inst.  Arts  and  Letters.  Professor 
of  Art,  Smith  College.  Specialty,  landscapes.  Studio,  New  York. 

Oil  Paintings — 

A Lighted  Village. 

Moonlight. 

The  Rising  Moon — Autumn. 

Sea — Sunset. 

Twilight — Early  Spring. 

Springtime. 

Daybreak — May. 

Sunrise — April. 

New  England  Hills. 

Twilight — May. 

The  Evening  Star. 

Morning. 

Sea — Night. 

Sea — Morning. 

Springtime. 

Summer. 

Autumn. 

Winter. 

Dawn. 

The  Sea — Evening. 

April  Morning. 

October. 

Autumn  Day. 

Night. 

Autumn  Morning. 


THE  NATIONAL  GALLERY  OF  ART 


113 


Tryon,  Dwight  William — Continued. 

Oil  Paintings — Continued. 

Twilight — Autumn. 

Evening — September. 

Twilight — November. 

An  Autumn  Evening. 

Morning  Mist. 

Water  Colors — 

Winter — Central  Park. 

Pasture  Lands — Early  Spring. 

Pastels — 

Central  Park — Moonlight. 

Winter — Connecticut  Valley. 

Late  Spring. 

Night — A Landscape. 

Niagara  Falls. 

Night — A Harbor. 

Early  Night. 

The  Sea — Moonlight. 

November  Afternoon. 

The  Sea — East  Wind. 

The  Sea — A Freshening  Breeze. 

Easterly  Storm. 

Night — The  Sea. 

Autumn  Evening. 

Moonlight. 

Sunset  Before  Storm. 

Twachtman,  John  Henry. 

Bom,  Cincinnati,  Ohio,  Aug.  4,  1853;  died,  Gloucester,  Mass.,  Aug.  8, 
1902.  Pupil  of  the  School  of  Design  of  Cincinnati  under  Frank  Duveneck, 
and  later  studied  in  Munich  and  Paris.  He  was  awarded  the  Webb  prize 
of  the  Soc.  Amer.  Artists,  1888;  a medal  at  the  Columbian  Exp.,  Chicago, 
1893;  the  Temple  gold  medal  of  the  Pa.  Acad.  Fine  Arts,  1895,  and  a silver 
medal  at  the  Pan- Amer.  Exp.,  Buffalo,  1901.  Specialized  in  landscapes. 

Oil  Paintings — 

Drying  Sails. 

The  Hidden  Pool. 


114 


THE  NATIONAL  GALLERY  OF  ART 


Whistler,  James  Abbott  McNeill. 

Bom,  Lowell,  Mass.,  July  n,  1834;  died,  London,  England,  July  17,  1903. 
Cadet  at  the  United  States  Military  Academy,  West  Point,  N.  Y.,  from 
1851  to  1854;  draughtsman  for  a few  months  in  the  U.  S.  Coast  and  Geodetic 
Survey,  where  he  learned  the  technicalities  of  etching  on  copper;  became 
pupil  of  Gleyre  in  Paris  in  1855;  settled  in  London  in  1859,  in  which  year  he 
began  to  exhibit  at  the  Royal  Academy.  One  of  the  great  painters  of  his 
time,  it  was  as  an  etcher  that  he  ranked  supreme.  He  also  produced  many 
lithographs.  Elected  a member  of  the  British  Artists  in  1884,  and  two 
years  later  made  president,  he  resigned  in  1888.  He  was  an  Officer  of  the 
Legion  of  Honor  of  France;  a member  of  the  Societe  Nationale  des  Artistes 
Franfais;  Commander  of  the  Order  of  the  Crown  of  Italy;  Chevalier  of  the 
Order  of  St.  Michael  of  Bavaria;  honorary  member  of  the  Royal  Academies 
of  Bavaria,  Dresden,  and  St.  Luke  in  Rome ; and  president  of  the  Interna- 
tional Society  of  Sculptors,  Painters  and  Gravers  of  England. 

Oil  Paintings — 

Portrait  Sketch  of  Mr.  Whistler. 

Portrait  of  Major  Whistler. 

Portrait  of  F.  R.  Leyland. 

Rose  and  Silver — La  Princess  du  Pays  de  la  Porcelaine. 

Jeune  Femme  Dite  L’Americaine — Arrangement  in  Black 
and  White.  No.  i. 

Nocturne.  Southampton. 

Nocturne.  Blue  and  Silver — Bognor. 

Nocturne.  Blue  and  Silver — Battersea  Reach. 

Nocturne.  Gray  and  Silver — Chelsea  Embankment. 

Symphony  in  Gray — Early  Morning,  Thames. 

Nocturne.  Opal  and  Silver. 

The  Thames  in  Ice. 

Blue  and  Silver — Trouville. 

Variations  in  Pink  and  Gray — Chelsea. 

Variations  in  Flesh  Color  and  Green — The  Balcony. 

Harmony  in  Purple  and  Gold,  No.  2 — The  Golden  Screen. 

The  Little  Blue  and  Gold  Giri  . 

Venus  Rising  from  the  Sea. 

Venus. 

Symphony  in  Green  and  Violet. 

The  White  Symphony — Three  Girls. 

Symphony  in  White  and  Red. 

Variations  in  Blue  and  Green. 

Symphony  in  Blue  and  Pink. 


THE  NATIONAL  GALLERY  OF  ART 


115 


Whistler,  James  Abbott  McNeill — Continued. 

Oil  Paintings — Continued. 

Rose  and  Gold — The  Little  Lady  Sophie  of  Soho. 

The  Little  Red  Glove.  (Unfinished.) 

Rose  and  Brown — La  Cigale. 

An  Orange  Note — Sweetshop. 

A Note  in  Blue  and  Opal — The  Sun  Cloud. 

Vert  et  Or — Le  Raconteur. 

Petite  Mephiste. 

Green  and  Gold — The  Great  Sea. 

The  Little  Nurse. 

The  Angry  Sea. 

The  Summer  Sea. 

Blue  and  Silver — Boat  Entering  Pourville. 

Gray  and  Gold — High  Tide  at  Pourville. 

The  Butcher  Shop. 

The  Gray  House. 

Purple  and  Gold — Phyrne,  the  Superb,  Builder  of  Temples. 
Chelsea  Shops. 

Blue  and  Gray — Unloading. 

The  Sea  and  Sand. 

Harmony  in  Brown  and  Gold — Old  Chelsea  Church. 

Blue  and  Green — The  Coal  Shaft. 

The  White  House. 

Wortley — Note  in  Green. 

Low  Tide. 

A Note  in  Red. 

A Portrait. 

Devonshire  Landscape. 

Little  Green  Cap. 

Yellow  and  Blue. 

Purple  and  Blue. 

Trafalgar  Square — Chelsea. 

Portrait  of  Stevie  Manuel. 

Nocturne.  Blue  and  Gold — Valparaiso. 

The  Little  Faustina.  (Unfinished.) 

Gray  and  Silver — The  Life  Boat. 

Gold  and  Orange — The  Neighbors. 

The  Little  Red  Note. 

The  Sad  Sea — Dieppe. 


t 


116 


THE  NATIONAL  GALLERY  OF  ART 


Whistler,  James  Abbott  McNeill — Continued. 

Water  Colors — 

Gray  and  Silver — The  Mersey. 

Blue  and  Gold — The  Rose  Azalea. 

Chelsea  Children. 

Thames  Near  Erith. 

Blue  and  Silver — Chopping  Channel. 

Green  and  Silver — Beaulieu  Terrace. 

Portrait  op  Mrs.  Whibley. 

The  Sea  Shore. 

Oxtead,  Surrey. 

Moreby  Hall. 

Amsterdam  in  Winter. 

Southend  Pier. 

Note  in  Blue  and  Opal — Jersey. 

Study  for  “The  Tall  Flower.” 

London  Bridge. 

St.  Ives — Sunset. 

St.  Ives — Cornwall. 

Venice  Harbor. 

Southend — Sunset. 

Southend — The  Pleasure  Yacht. 

Reach  in  Upper  Thames. 

Ranleigh  Gardens. 

Pink  Note— The  Novelette. 

Nocturne.  Black  and  Red — Back  Canal,  Holland. 
Nocturne.  Gray  and  Gold — Canal,  Holland. 
Nocturne.  Grand  Canal,  Amsterdam. 

Petit  Dejeuner — Note  in  Opal. 

The  Studio — Note  in  Pink  and  Purple. 

Harmony  in  Violet  and  Amber. 

A Note  in  Green. 

Pink  Note — Shelling  Peas. 

Bravura  in  Brown. 

Erith— Evening. 

Gray  and  Silver— Pier,  Southend. 

Opal  Beach. 

The  Mouth  op  the  River. 


THE  NATIONAL  GALLERY  OF  ART 


117 


Whistler,  James  Abbott  McNeill — Continued. 

Water  Colors — Continued. 

The  Bathers. 

The  Anchorage. 

The  Ocean  Wave. 

Millie  Finch. 

Flower  Market,  Dieppe. 

Resting  in  Bed. 

A Little  Red  Note — Dordrecht. 

Nude  Figure  and  Cupid. 

Pastels — 

The  Blue  Dress. 

Venice. 

A Violet  Note. 

Rose  and  Red — The  Little  Pink  Cap. 

The  Purple  Cap. 

The  Green  Cap. 

Harmony  in  Blue  and  Violet. 

Venetian  Doorway. 

Writing  on  the  Wall. 

Sleeping. 

Pour  le  Pastel.  Rose  and  Opal. 
Morning-Glories. 

Mother  and  Child — The  Pearl. 

A Street  in  Venice. 

Nocturne.  Battersea  Bridge. 

The  Purple  Iris. 

Venus  Astarte. 

The  Grand  Canal,  Venice. 

The  Shell. 

The  Isles  of  Venice. 

The  Marble  Palaces. 

Bead-Stringers,  Venice. 

The  Model  Seated. 

The  Blue  Girl. 

Little  Nude. 

The  Purple  Cap. 

Annabel  Lee. 


118 


THE  NATIONAL  GALLERY  OF  ART 


Whistler,  James  Abbott  McNeill — Continued. 

Pastels — Continued. 

Venetian  Courtyard. 

Doorway. 

Resting. 

A Study  in  Red. 

Blue  and  Rose — The  Open  Fan. 

Drawings  and  Sketches — 

One  hundred  and  thirteen  drawings  and  sketches  in  chalk, 
pencil,  ink,  sepia,  pastel,  crayon  and  water  color,  and  one  album. 

Wood  Engravings — 

Three  wood  engravings  after  designs  by  Whistler. 

Etchings  and  Dry  Points — 

Three  hundred  and  ninety-six  subjects,  of  many  of  which  there 
are  from  two  to  five  impressions,  making  the  total  number  of  pieces 
six  hundred  and  twenty-five. 

Lithographs — 

One  hundred  and  sixty-six  subjects  and  one  hundred  and 
ninety-four  impressions. 

Original  Copper  Plates — 

Thirty-eight  plates  (including  “The  Thames  Set”  of  sixteen 
plates,  of  which  there  is  an  impression  from  each  plate  printed 
after  the  plates  had  been  defaced,  and  the  Coast  Survey  plate). 

The  Peacock  Room — 

The  complete  woodwork,  including  all  decorations  of  the  Pea- 
cock Room,  the  famous  creation  of  Whistler  in  the  London  resi- 
dence of  the  late  F.  R.  Leyland. 

Oriental  Art 

(Of  periods  from  before  the  Christian  era  to  the  Nineteenth  Century.) 
Paintings — 

Collection  of  early  Persian  and  Indo-Persian  paintings. 

146  Japanese  and  4 Chinese  screens. 

70  Japanese  and  40  Chinese  panels. 

272  Japanese  and  173  Chinese  kakemono. 

15  Japanese  and  140  Chinese  makimono,  or  scroll  paintings. 

4 albums  of  Japanese  pictures  on  paper  and  fans,  and  29  albums 
of  Chinese  pictures  principally  on  silk  and  paper. 

13  Tibetan  paintings. 


THE  NATIONAL  GALLERY  OF  ART 


119 


Pottery — 

Sixteen  hundred  and  eighty-one  pieces,  comprising  vases,  jars, 
bowls,  bottles,  dishes,  tiles,  plaques,  figures,  incense  boxes,  etc., 
of  which  754  are  Japanese,  228  Corean,  262  Chinese,  and  437  are 
from  more  western  parts  of  Asia,  including  Persia  and  Rakka,  and 
from  Egypt. 

Bronzes — 

Two  hundred  and  fifty-nine  pieces,  of  which  231  are  Chinese, 
10  Japanese,  and  18  from  other  parts  of  Asia  and  from  Egypt. 

Stone  Sculptures  and  Carvings — 

One  hundred  and  fifty-six  examples,  of  which  133  are  Chinese 
and  20  Egyptian. 

Jades — 

One  hundred  and  eight  ancient  pieces  from  China. 

Glass — 

A notable  collection  of  over  600  pieces  of  ancient  Egyptian  glass, 
besides  a few  pieces  from  other  countries. 

Miscellaneous — 

One  hundred  and  ten  objects,  including  Japanese  and  Chinese 
lacquers;  wood  carvings  and  decorations  from  Japan,  China  and 
Egypt;  iron  and  other  metal  work  from  Japan  and  China;  ivory 
statuettes  from  Cambodia;  and  Byzantine  ornaments  and  medal- 
lions. 

The  collection  also  contains  some  important  ancient  Biblical 
manuscript,  obtained  in  Egypt. 


THE  WILLIAM  T.  EVANS  COLLECTION 

At  the  beginning  of  March,  1907,  Mr.  William  T.  Evans,  of 
Montclair,  N.  J.,  announced  to  the  Institution  his  desire  to  con- 
tribute to  the  National  Gallery  a number  of  paintings  by  con- 
temporary American  artists  of  established  reputation,  naming 
thirty-six  pictures  in  his  personal  collection  which  he  had 
selected  for  the  purpose.  The  acceptance  of  this  most  generous 
and  wholly  unexpected  offer  made  it  necessary  to  secure  a place 
for  the  temporary  installation  of  the  collection  outside  of  the 
Museum  and  Smithsonian  buildings,  since  neither  of  these  con- 
tained at  that  time  any  available  or  suitable  space  for  an  exhi- 


120 


THE  NATIONAL  GALLERY  OF  ART 


bition  of  this  character  and  extent.  Accommodations  in  the 
atrium  of  the  Corcoran  Gallery  of  Art  were  at  once  tendered  by 
the  trustees  of  that  establishment,  and  it  is,  therefore,  through 
the  courtesy  of  the  latter  that  the  public  has  been  enabled  to 
enjoy  the  benefits  of  Mr.  Evans’  gift  to  the  nation. 

On  March  12  Mr.  Evans  wrote  that,  in  order  to  make  a credit- 
able showing  in  the  large  atrium  of  the  Corcoran  Gallery,  he 
had  increased  the  number  of  paintings  constituting  his  initial 
gift  to  the  National  Gallery,  adding,  “I  have  every  reason  to 
believe  that  you  will  like  my  selections,  but  should  any  of  the 
examples  not  hold  well,  others  can  be  substituted,  as  it  is  my 
desire  to  have  every  artist  represented  at  his  best.  As  already 
intimated,  I intend  that  the  present  gift  may  not  be  considered 
as  final.  Additions  may  be  made  from  time  to  time  as  oppor- 
tunities occur  to  secure  exceptional  works.” 

Fifty  paintings  were  enumerated  in  the  list  which  accompa- 
nied this  letter.  Forty-three  of  these  were  received  and  hung 
in  the  Corcoran  Gallery  on  April  2,  and  the  remaining  seven 
within  a short  time  thereafter.  Placed  in  a single  row,  they 
occupied  the  entire  eastern  and  southern  sides  and  most  of  the 
western  side  of  the  atrium.  Additions  have  since  been  made  at 
frequent  intervals,  and  in  December,  1907,  Mr.  Evans  formally 
announced  his  intention  of  increasing  the  number  to  one  hun- 
dred. A few  of  the  original  pictures  have  also  been  replaced  by 
more  satisfactory  examples  of  the  work  of  the  same  artists,  and 
still  further  changes  are  possible. 

The  total  number  at  the  Corcoran  Gallery  on  July  1,  1909,  the 
date  to  which  this  account  has  been  brought,  was  84.  During 
the  first  week  of  July  the  entire  collection  was  transferred  to 
the  National  Museum.  Since  then  Mr.  Evans  has  transmitted 
two  paintings,  as  follows : Groton  Long  Point  Dunes,  by  Henry 
W.  Ranger,  and  Ideal  Head,  by  the  late  George  Fuller,  and 
has  announced  the  purchase  for  the  Gallery  of  The  South  Strand, 
by  Emil  Carlsen,  and  Southwesterly  Gale,  St.  Ives,  by  Frederick 
J.  Waugh. 

[Year  by  year  since  1909  Mr.  Evans  has  contributed  with 
great  liberality  toward  the  increase  of  his  donation  until  it  has 
become  a most  notable  presentation  of  the  work  of  modern 


VISIT  OF  NICODEMUS  TO  CHRIST 
William  T.  Evans  Collection 
(See  page  138) 


JOHN  LA  FARGE 


THE  NATIONAL  GALLERY  OF  ART 


121 


American  painters.  There  are  now  included  in  this  collection 
150  paintings  and  one  fire  etching,  representing  106  artists, 
besides  1 15  examples  of  the  work  of  16  of  the  foremost  American 
wood  engravers  and  one  piece  of  bronze.  January,  1916.] 

CATALOGUE  OF  THE  WILLIAM  T.  EVANS  COLLECTION 

Alexander,  John  White. 

Bom,  Allegheny,  Pa.,  Oct.  7,  1856;  died,  New  York,  May  31,  1915.  He 
studied  in  Munich,  Venice  and  Florence.  Among  the  honors  granted  him 
were  the  Temple  gold  medal,  1897,  and  Lippincott  prize,  1899,  Pa.  Acad. 
Fine  Arts;  gold  medal,  Paris  Exp.,  1900,  and  Pan-Amer.  Exp.,  Buffalo, 
1901;  Carnegie  prize,  Soc.  Amer.  Artists,  1901;  first  Corcoran  prize,  Soc. 
Wash.  Artists,  1903;  gold  medal,  St.  Louis  Exp.,  1904;  medal  of  honor, 
Panama-Pacific  Intemat.  Exp.,  San  Francisco,  1915.  He  was  made  Che- 
valier of  the  Legion  of  Honor  of  France  in  1901,  and  held  membership  and 
office  in  many  art  associations,  among  them  the  following:  A.  N.  A.,  1901; 
N.  A.,  1902  (pres.  1909-15);  N.  Y.  Arch.  League;  Mural  Painters;  Portrait 
Painters;  Nat.  Inst.  Arts  and  Letters  (pres.);  Nat.  Acad.  Arts  and  Letters; 
Soc.  Nat.  des  Beaux-Arts,  and  Soc.  de  Peintres  et  Sculpteurs,  Paris;  Inter- 
nat.  Soc.  of  Sculptors,  Painters  and  Gravers  (hon.),  London;  the  Munich 
and  Vienna  Secessions.  He  made  a specialty  of  portraits,  figures  and  mural 
decorations. 


B allin,  Hugo. 

Bom,  New  York,  Mar.  7,  1879.  Pupil  of  Art  Students’  League,  N.  Y., 
and  studied  in  Rome  and  Florence.  Shaw  Fund  Purchase,  Soc.  Amer. 
Artists,  1905;  President’s  prize,  N.  Y.  Arch.  League,  1906;  Clarke  prize, 
Nat.  Acad.  Design,  1906;  second  Hallgarten  prize,  N.  A.  D.,  1907;  Isidor 
medal,  N.  A.  D.,  1907;  N.  Y.  A.  L.,  1908;  bronze  medal,  Buenos  Aires 
Exp.,  1910.  A.  N.  A.,  1906;  member,  N.  Y.  Arch.  League;  Mural  Painters; 
Amer.  Water  Color  Soc. ; Nat.  Inst.  Arts  and  Letters.  Studio,  New  York. 

THE  SIBYLLA  EUROPA— PROPHESIED  THE  MASSACRE  OF 
THE  INNOCENTS. 

Signed  and  marked  copyrighted,  1906.  On  canvas,  90  H.,  64  W. 


A TOILER. 


Signed. 


On  canvas,  39X  H.,  21^  W. 


THE  LESSON. 


Signed  and  dated,  1907. 


On  canvas,  50  H.,  40  W. 


122 


THE  NATIONAL  GALLERY  OF  ART 


Beatty,  John  Wesley. 

Bom,  Pittsburgh,  Pa.,  1851.  Pupil  of  Royal  Bavarian  Academy,  Munich. 
Has  been  represented  at  several  exhibitions.  Member  of  jury  on  paint- 
ing, Columbian  Exp.,  Chicago,  1893;  National  Advisory  Board,  Paris  Exp., 
1900;  Fine  Arts  Committee,  Pan-Amer.  Exp.,  Buffalo,  1901;  National 
Advisory  Committee,  St.  Louis  Exp.,  1904;  Internat.  Jury  of  Awards, 
Panama- Pacific  Internat.  Exp.,  San  Francisco,  1915.  Member,  Pittsburgh 
Art.  Soc.;  Pittsburgh  Photographers’  Soc.  (hon.);  Royal  Soc.  of  Arts,  Lon- 
don. Painter  and  etcher.  Director,  Dept,  of  Fine  Arts,  Carnegie  Insti- 
tute, Pittsburgh. 

PLYMOUTH  HILLS. 

Signed  and  dated,  1909.  On  canvas,  26  H.,  36  W. 

Beck,  Otto  Walter. 

Bom,  Dayton,  Ohio,  Mar.  11,  1864.  Pupil,  Munich  Academy  of  Fine 
Arts  under  Gysis  and  Loefftz ; sculpture  under  Riimann.  First  prize,  Nat. 
competition  for  mural  decoration  of  the  City  Hall,  Cincinnati,  1897.  Mem- 
ber, N.  Y.  Arch.  League;  Nat.  Arts  Club,  N.  Y.  Painter  and  mural  deco- 
rator, teacher,  lecturer.  Brooklyn,  N.  Y. 

CHRIST  BEFORE  PILATE. 

Pastel  on  binder’s  board,  48^  H.,  32X  W. 

SUFFER  THE  LITTLE  CHILDREN  TO  COME  UNTO  ME. 

Signed  and  dated,  1910.  Pastel  on  binder’s  board,  consisting  of 

three  panels  32  H.,  one  48  W.,  two  16 
W.  each. 

Beckwith,  James  Carroll. 

Bom,  Hannibal,  Mo.,  Sept.  23,  1852.  Pupil  of  Carolus  Duran  and  ijcole 
des  Beaux-Arts  in  Paris.  Hon.  mention,  Paris  Salon,  1887;  bronze  medal, 
Paris  Exp.,  1889;  gold  medal,  Atlanta  Exp.,  1895;  bronze  medal,  Paris 
Exp.,  1900;  gold  medal,  Charleston  Exp.,  1902.  N.  A.,  1894;  member, 
Amer.  Water  Color  Soc.;  Art  Students’  League,  N.  Y.  (hon.);  Nat.  Inst. 
Arts  and  Letters.  Specialty,  portraits  and  genre  pictures.  Studio,  New 
York. 

THE  BLACKSMITH. 

On  canvas,  52  H.,  32  W. 

Bicknell,  Frank  Alfred. 

Born,  Augusta,  Me.,  Feb.  17,  1866.  Pupil  of  Julian  Academy  in  Paris 
under  Bouguereau  and  Robert-Fleury.  A.  N.  A.;  member,  Amer.  Art 
Assoc,  of  Paris;  Salma.  Club;  Nat.  Arts  Club,  N.  Y.;  Chicago  Water  Color 
Soc.  Specialty,  landscapes.  Studio,  New  York. 


THE  NATIONAL  GALLERY  OF  ART 


123 


OCTOBER  MORNING. 

Signed.  On  canvas,  2>llA  H.,  40^  W. 

Blakelock,  Ralph  Albert. 

Bom,  New  York,  Oct.  15,  1847.  Self-taught.  Hon.  mention,  Paris 
Exp.,  1900.  Specialty,  landscapes. 

AT  NATURE’S  MIRROR. 

Signed.  On  canvas,  16  H.,  23^  W. 

THE  CANOE  BUILDERS. 

Signed.  On  canvas,  26^  H.,  36^  W. 

MOONRISE. 

Signed.  On  wood  panel,  15^  H.,  23^  W. 

SUNSET,  NAVARRO  RIDGE,  CALIFORNIA  COAST. 

Signed.  On  canvas,  35K  H.,  5sK  W. 

Blum,  Robert  Frederick. 

Bom,  Cincinnati,  Ohio,  July  9,  1857;  died,  New  York,  June  8,  1903. 
Studied  at  McMicken  School,  Cincinnati;  Pa.  Acad.  Fine  Arts,  and  in 
Paris.  Represented  at  several  exhibitions  and  was  awarded  bronze,  silver, 
and  gold  medals.  Besides  painting  in  oil  and  water  color,  he  engaged  in 
illustrative  work,  and  subsequently  took  up  mural  decoration,  his  first 
serious  effort  in  this  line  being  the  Moods  of  Music  in  Mendelssohn  Hall, 
New  York,  begun  in  1893.  N.  A.,  1893;  member,  Soc.  Amer.  Artists; 
Amer.  Water  Color  Soc.;  Mural  Painters. 

CANAL  IN  VENICE,  SAN  TROVASO  QUARTER. 

On  canvas,  34  H.,  23  W. 

Bogert,  George  H. 

Bom,  New  York,  1864.  Pupil  of  National  Academy  of  Design,  and  of 
Puvis  de  Chavannes,  Aime  Morotand  E-  Boudin  in  Paris.  Hon.  mention, 
Pa.  Acad.  Fine  Arts,  1892;  Webb  prize,  Soc.  Amer.  Artists,  1898;  first 
Hallgarten  prize,  Nat.  Acad.  Design,  1899;  bronze  medal,  Paris  Exp.,  1900, 
for  the  painting  Sea  and  Rain;  silver  medal,  Pan- Amer.  Exp.,  Buffalo,  1901; 
gold  medal,  Amer.  Art  Soc.  Phila.,  1902  and  1907;  silver  medal,  St.  Louis 
Exp.,  1904.  A.  N.  A.,  1899.  Specialty,  landscapes.  Studio,  New  York. 


124 


THE  NATIONAL  GALLERY  OF  ART 


SEA  AND  RAIN. 

Signed  and  dated,  1893.  On  canvas,  29^  H.,  44^  W. 

Browne,  George  Elmer. 

Bom,  Gloucester,  Mass.,  May  6,  1871.  Studied  at  School  of  Drawing  and 
Painting,  Museum  of  Fine  Arts,  and  Cowles  Art  School,  Boston;  and  Julian 
Academy,  Paris,  under  Lefebvre  and  Robert- Fleury.  Bronze  medal,  Me- 
chanics’ Fair,  Boston,  1895;  bookplate  prize,  Salma.  C.,  1898;  George  In- 
ness,  jr. , prize,  Salma.  C.,  1901.  Member,  Salma.  Club;  Artists’  Fund  Soc.; 
Amer.  Art.  Assoc.,  Paris. 

THE  WAIN  TEAM. 

Signed.  On  canvas,  53X  H.,  63 X W. 

Brush,  George  de  Forest. 

Bom,  Shelbyville,  Tenu.,  Sept.  28,  1855.  Pupil  of  G6r6me  in  Paris. 
First  Hallgarten  prize,  Nat.  Acad.  Design,  1888;  medal,  Columbian  Exp., 
Chicago,  1893;  Temple  gold  medal,  Pa.  Acad.  Fine  Arts,  1897;  gold  medal, 
Paris  Exp.,  1900;  gold  medal,  Pan-Amer.  Exp.,  Buffalo,  1901;  gold  medal, 
St.  Louis  Exp.,  1904;  Saltus  medal,  N.  A.  D.,  1909.  N.  A.,  1906;  mem- 
ber, Nat.  Inst,  and  Amer.  Acad.  Arts  and  Letters.  Studio,  New  York  and 
Dublin,  N.  H. 


THE  MOOSE  CHASE. 

Signed  and  dated,  1888.  On  canvas,  37  H.,  57^  W. 

Bunce,  William  Gedney. 

Bom,  Hartford,  Conn.,  Sept.  19,  1840.  Pupil  of  Cooper  Union  and  Wil- 
liam Hart  in  New  York;  Achenbach  in  Munich  and  P.  J.  Clays  in  Ant- 
werp. Exhibited  in  Paris  Salons,  1875;  bronze  medal,  Paris  Exp.,  1900; 
silver  medal,  Pan-Amer.  Exp.,  Buffalo,  1901;  silver  medal,  Charleston 
Exp.,  1902;  silver  medal,  St.  Louis  Exp.,  1904.  N.  A.,  1907;  member, 
Nat.  Inst.  Arts  and  Letters.  Specialty,  landscapes.  Studio,  Hartford. 

SUNSET,  SAN  GIORGIO,  VENICE. 

On  canvas,  29  H.,  36  W. 

Carlsen,  Emil. 

Bom,  Copenhagen,  Denmark,  Oct.  19,  1853;  came  to  the  United  States 
in  1872.  Studied  architecture  at  Danish  Royal  Academy.  Second  Inness 
prize,  Salma.  Club,  1904;  Shaw  purchase,  Soc.  Amer.  Artists,  1904;  gold 
medal,  St.  Louis  Exp.,  1904;  Webb  prize,  Soc.  Amer.  Artists,  1905;  Inness 
medal,  Nat.  Acad.  Design,  1907;  third  medal,  Carnegie  Institute,  1908; 
Temple  gold  medal,  Pa.  Acad.  Fine  Arts,  1912;  medal  of  honor,  Panama- 
Pacific  Intemat.  Exp.,  San  Francisco,  1915.  N.  A.,  1906;  member,  Nat. 
Inst.  Arts  and  Letters.  Studio,  New  York. 


FREDERICK  STUART  CHURCH  THE  BLACK  ORCHID 

William  T.  Evans  Collection 


(See  page  125) 


' 


THE  NATIONAL  GALLERY  OF  ART 


125 


the;  south  strand. 

Signed.  On  canvas,  40  H.,  45  W. 

Cassatt,  Mary. 

Bom,  Pittsburgh,  Pa.,  1855.  Influenced  by  Manet  and  Degas.  Uippin- 
cott  prize,  Pa.  Acad.  Fine  Arts,  1904.  A.  N.  A.,  1909;  Chevalier  of  the 
Legion  of  Honor  of  France,  1904.  Painter  and  etcher.  Paris,  France. 

CARESSE  ENFANTINE. 

Signed. 

Chase,  William  Merritt. 

Bom,  Franklin,  Ind.,  Nov.  1,  1849.  Pupil  of  B.  F.  Hayes  in  Indian- 
apolis, J.  O.  Eaton  in  New  York,  A.  Wagner  and  Piloty  in  Munich.  Medal, 
Centennial  Exh.,  Philadelphia,  1876;  hon.  mention,  Paris  Salon,  1881; 
honors,  Munich,  1883;  silver  medal,  Paris  Salon,  1889;  member,  Internat. 
Jury  of  Awards,  Columbian  Exp.,  Chicago,  1893;  first  prize,  Cleveland 
Art  Assoc.,  1894;  Shaw  prize,  Soc.  Amer.  Artists,  1895;  gold  medal  of 
honor,  Pa.  Acad.  Fine  Arts,  1895;  gold  medal,  Paris  Exp.,  1900;  Temple 
gold  medal,  Pa.  Acad.  Fine  Arts,  1901;  gold  medal,  Pan-Amer.  Exp., 
Buffalo,  1901,  and  Charleston  Exp.,  1902;  first  Corcoran  prize,  Soc.  Wash. 
Artists,  1904;  member,  Internat.  Jury  of  Awards,  St.  Louis  Exp.,  1904, 
and  Panama-Pacific  Internat.  Exp.,  San  Francisco,  1915.  N.  A.,  1890; 
member,  Amer.  Water  Color  Soc.;  Amer.  Art  Soc.,  Phila.;  Nat.  Arts  Club; 
Amer.  Assoc.  Portrait  Painters;  Nat.  Inst.  Arts  and  Letters;  Amer.  Acad. 
Arts  and  Letters;  Munich  Secession.  Painter  and  teacher.  Studio, 
New  York. 

SHINNECOCK  HILLS. 

Signed.  On  canvas,  34^  H.,  39X  W. 

Church,  Frederick  Stuart. 

Bom,  Grand  Rapids,  Mich.,  Dec.  1,  1842.  Pupil  of  Chicago  Academy 
of  Design,  L.  E.  Wilmarth,  Walter  Shirlaw,  National  Academy  of  Design 
and  Art  Students’  League,  New  York.  Silver  medal,  St.  Louis  Exp., 
1904.  Painter  in  oil  and  water  color,  illustrator  and  etcher.  His  pictures 
are  generally  of  animal  life  or  figures.  N.  A.,  1885;  member,  Amer. 
Water  Color  Soc.;  N.  Y.  Etching  Cltfb;  Soc.  of  Illustrators,  N.  Y.  Studio, 
New  York. 

THE  BLACK  ORCHID. 

Signed  and  dated,  1907.  On  canvas,  48  H.,  30  W. 


CIRCE. 


Signed  and  dated,  1910. 


On  canvas,  32  H.,  54X  W. 


126 


THE  NATIONAL  GALLERY  OF  ART 


Closson,  William  Baxter  Palmer. 

Bom,  Thetford,  Vt.,  Oct.  13,  1848.  Pupil  of  Lowell  Inst,  and  Evening 
Art  School  in  Boston;  traveled  in  Europe.  Followed  engraving  on  wood, 
1872-94;  since  painting  in  pastel  and  oil.  Awards  for  wood  engraving: 
Gold,  silver  and  bronze  medals,  Mass.  Charitable  Mechanics’  Assoc.;  third 
class  medal,  Paris  Salon,  1882;  silver  medal,  Paris  Exp.,  1889;  medal,  Co- 
lumbian Exp.,  Chicago,  1893;  diploma,  Graphic  Arts  Exp.,  Vienna;  silver 
medal,  Pan-Amer.  Exp.,  Buffalo,  1901;  St.  Louis  Exp.,  1904.  Member, 
Boston  Art  Club;  Copley  Soc.;  Soc.  Wash.  Artists;  Union  Internationale 
des  Beaux-Arts  et  des  Lettres.  Newton,  Mass. 

NYMPH  AND  WATER  BABIES  AT  PLAY. 

Signed  and  marked  copyrighted,  1908.  On  canvas,  45X  H.,  37  W. 
Coffin,  William  Anderson. 

Bom,  Allegheny,  Pa.,  Jan.  31,  1855.  Pupil  of  Bonnat  in  Paris.  Second 
Hallgarten  prize,  Nat.  Acad.  Design,  1886;  Webb  prize,  Soc.  Amer.  Artists, 
1891;  bronze  medal,  Paris  Exp.,  1889;  gold  medal,  Art  Club,  Phila.,  1898; 
director  of  fine  arts  and  member  of  the  Superior  Jury,  Pan-Amer.  Exp., 
Buffalo,  1901;  silver  medal,  Charleston  Exp.,  1902;  silver  medal,  St.  Louis 
Exp.,  1904.  N.  A.,  1912;  member,  N.  Y.  Arch.  League.  Specialty,  land- 
scapes. Writer  on  art.  New  York  and  Jennerstown,  Pa. 


Cole,  Joseph  Foxcroft. 

Bom  at  Jay,  Me.,  Nov.  9,  1837;  died,  Boston,  May  2,  1892.  Went  in  i860 
to  Paris  where  he  studied  for  three  years  under  Lambinet  and  in  one  of  the 
government  schools.  After  a year  in  Italy,  he  opened  a studio  in  Boston 
where  he  won  success  as  a landscape  painter.  In  1865  he  returned  to  Paris 
and  became  a pupil  of  Charles  Emile  Jacque.  He  exhibited  at  the  Paris 
Salon  in  1866  and  again  in  1867,  and  also  in  the  international  exposition  of 
the  latter  year.  Following  another  short  stay  in  Boston,  he  revisited 
France  in  1872,  remaining  there  five  years  and  exhibiting  at  the  Salons  of 
1873,  1874  and  1875.  He  was  also  frequently  represented  at  the  Royal 
Academy  in  London.  He  was  elected  a member  of  the  Soc.  Amer.  Artists 
in  1880.  The  latter  part  of  his  life  was  spent  in  Boston.  His  specialty  con- 
tinued to  be  landscapes. 


SEPTEMBER. 


Signed. 


On  canvas,  30  H.,  40  W. 


LATE  AFTERNOON  NEAR  PROVIDENCE. 


Signed  and  dated,  1879. 


On  canvas,  18X  H.,  26  W. 


THE  NATIONAL  GALLERY  OF  ART 


127 


Coman,  Charlotte  Buell. 

Bora,  Waterville,  N.  Y.,  1833.  Pupil  of  James  R.  Brevoort  in  New  York; 
Harry  Thompson  and  Emile  Vernier  in  Paris.  Bronze  medal,  California 
Mid-Winter  Exp.,  San  Francisco,  1894;  prize,  N.  Y.  Woman’s  Art  Club; 
Shaw  memorial  prize,  Soc.  Amer.  Artists,  1905;  second  prize,  Soc.  Wash. 
Artists,  1906;  Burgess  prize,  N.  Y.  Woman’s  A.  C.,  1907;  McMillin  prize, 
same  club,  1911.  A.  N.  A.,  1910;  member,  N.  Y.  Water  Color  Club;  Wo- 
man’s Art  Club;  Art  Workers’  Club.  Specialty,  landscapes.  Studio, 
New  York. 

EARLY  SUMMER. 

Signed.  On  canvas,  29X  H.,  36  W. 

Couse,  Eanger  Irving. 

Bom,  Saginaw,  Mich.,  Sept.  3,  1866.  Pupil,  Nat.  Acad.  Design  in  New 
York;  Bouguereau,  Robert-Fleury  and  Ecole  des  Beaux- Arts  in  Paris. 
Shaw  prize  for  black  and  white  at  Salma.  Club,  1899;  second  Hallgarten 
prize,  N.  A.  D.,  1900;  Proctor  prize,  Salma.  Club,  1900;  hon.  mention, 
Paris  Exp.,  1900,  and  Pan-Amer.  Exp.,  Buffalo,  1901;  first  Hallgarten 
prize,  N.  A.  D.,  1902;  two  bronze  medals,  St.  Louis  Exp.,  1904;  Isidor 
gold  medal,  1911,  and  Carnegie  prize,  1912,  N.  A.  D.;  silver  medal,  Panama- 
Pacific  Interrat.  Exp.,  San  Francisco,  19x5.  N.  A.,  1911;  member,  Amer. 
Water  Color  Soc.;  N.  Y.  Water  Color  Club;  Artists’  Fund  Soc.  Specialty, 
Indians.  Studio,  New  York  and  Taos,  N.  Mex. 

ELK-FOOT  (PUEBLO  TRIBE). 

Signed  and  marked  copyrighted.  On  canvas,  78JJ  H.,  36  W. 

Cox,  Kenyon. 

Born,  Warren,  Ohio,  Oct.  27,  1856.  Pupil  of  Carolus  Duran  and  G6r6me 
in  Paris.  Second  Hallgarten  prize,  N.  A.  D.,  1889;  two  bronze  medals, 
Paris  Exp.,  1889;  Temple  silver  medal,  Pa.  Acad.  Fine  Arts,  1891;  medal, 
Columbian  Exp.,  Chicago,  1893;  gold  medal,  St.  Louis  Exp.,  1904;  medal 
of  honor  for  mural  painting,  N.  Y.  Arch.  League,  1909;  Isidor  medal, 
N.  A.  D.,  1910.  N.  A.,  1903;  member,  Mural  Painters;  N.  Y.  Arch.  League; 
Nat.  Inst,  and  Amer.  Acad.  Arts  and  Letters.  Specialty,  portraits,  figure 
pieces,  mural  decoration;  also  illustrator,  teacher  and  writer.  New  York 
and  Windsor,  Vt. 

PLENTY. 

Signed  and  marked  copyrighted,  1910.  On  canvas,  28  H.,  35  W. 

Cox,  Louise  (Howland  King). 

Mrs.  Kenyon  Cox.  Bom,  San  Francisco,  Cal.,  June  23,  1865.  Pupil  of 
Nat.  Acad.  Design  and  Art  Students  ’ League,  New  York.  Third  Hallgarten 
prize,  N.  A.  D.,  1896;  bronze  medal,  Paris  Exp.,  1900;  silver  medal,  Pan- 
Amer.  Exp.,  Buffalo,  1901;  Shaw  memorial  prize,  Soc.  Amer.  Artists,  1903; 
21394°— 16 9 


128 


THE  NATIONAL  GALLERY  OF  ART 


second  Hallgarten  prize,  N.  A.  D.,  1904;  silver  medal,  St.  Louis  Exp.,  1904. 
A.  N.  A.,  1902.  Specialty,  children’s  portraits.  Studio,  New  York. 

MAY  FLOWERS. 

Signed  and  marked  copyrighted,  1911.  On  canvas,  24  H.,  20  W. 

Crane,  Bruce. 

Bom,  New  York,  Oct.  17,  1857.  Pupil  of  A.  H.  Wyant.  Webb  prize, 
Soc.  Amer.  Artists,  1897;  bronze  medal,  Paris  Exp.,  1900;  Inness  gold 
medal,  Nat.  Acad.  Design,  1901;  silver  medal,  Pan- Amer.  Exp.,  Buffalo, 
1901,  and  Charleston  Exp.,  1902;  gold  medal,  St.  Louis  Exp.,  1904;  third 
prize,  Carnegie  Inst.,  Pittsburgh,  1909;  Saltus  medal,  N.  A.  D.,  1912;  silver 
medal,  Panama-Pacific  Intemat.  Exp.,  San  Francisco,  1915.  N.  A.,  1901; 
member,  Amer.  Water  Color  Soc.;  N.  Y.  Water  Color  Club;  Soc.  Amer. 
Landscape  Painters;  Union  Internationale  des  Beaux-Arts  et  des  Lettres. 
Specialty,  landscapes.  Studio,  Bronxville,  N.  Y. 

AUTUMN. 

Signed  and  dated,  1909.  On  canvas,  30  H.,  36  W. 

Curran,  Charles  Courtney. 

Bom,  Hartford,  Ky.,  Feb.  13,  1861.  Pupil  of  the  School  of  Design  in 
Cincinnati;  Art  Students’  League  and  Nat.  Acad.  Design  in  New  York; 
Benjamin-Constant,  Lefebvre  and  Doucet  in  Paris.  Third  Hallgarten 
prize,  N.  A.  D.,  1888;  hon.  mention,  Paris  Salon,  1890;  Clarke  prize, 
N.  A.  D.,  1893;  medal,  Columbian  Exp.,  Chicago,  1893;  second  Hallgarten 
prize,  N.  A.  D.,  1895;  silver  medal,  Atlanta  Exp.,  1895;  hon.  mention, 
Paris  Exp.,  1900;  silver  medal,  Pan-Amer.  Exp.,  Buffalo,  1901;  Carnegie 
prize,  Soc.  Amer.  Artists,  1904;  silver  medal,  St.  Louis  Exp.,  1904;  first 
Corcoran  prize,  Soc.  Wash.  Artists,  1905;  first  prize  ($500),  Osborne  com- 
petition, 1905.  N.  A.,  1904;  member,  Amer.  Water  Color  Soc.  Specialty, 
figures  and  portraits  in  oil.  Studio,  New  York. 

THE  PERFUME  OF  ROSES. 

Signed  and  marked  copyrighted,  1902.  On  canvas,  29  H.,  23  W. 
Dabo,  Leon. 

Bom,  Detroit,  Mich.,  July  9,  1868.  Pupil  of  Daniel  Vierge,  Ecole  des 
Arts  Decoratifs  and  Julian  Academy  in  Paris;  and  of  Galliardi  in  Rome 
and  Florence.  Evans  prize,  Nat.  Arts  Club,  1909;  first  prize,  Muncie,  Ind. 
Art  Assoc.,  1909.  Member,  Soc.  Past.ellists  (pres.);  Amer.  Painters  and 
Sculptors;  Nat.  Arts  Club,  N.  Y.;  N.  Y.  Municipal  Art  Soc. ; Allied  Artists 
Club,  London;  Union  Internationale  des  Beaux-Arts  et  des  Lettres,  Paris. 
Landscape  and  mural  painter.  Studio,  New  York. 

EVENING  ON  THE  HUDSON. 

Signed  and  dated,  1909.  On  canvas,  28K  H.,  36  W. 


WAS.  OW  HOMER  HiGH  CLIFF,  COAST  OF  MASNE 

William  T.  Evans  Collection 


THE  NATIONAL  GALLERY  OF  ART 


129 


Daingereield,  Elliott. 

Bom,  Harper’s  Ferry,  Va.,  Mar.  26,  1859.  Studied  in  New  York  and  in 
Europe.  Silver  medal,  Pan-Amer.  Exp.,  Buffalo,  1901;  Clarke  prize,  Nat. 
Acad.  Design,  1902.  N.  A.,  1906;  member,  N.  Y.  Water  Color  Club.  On 
the  faculty  of  Phila.  School  of  Design.  Painter,  illustrator,  teacher,  writer 
and  lecturer.  Studio,  New  York. 

THE  CHILD  OF  MARY. 

Signed  and  dated,  1896.  On  canvas,  84%  H.,  66%  W. 

Davis,  Charles  Harold. 

Bora,  Amesbury,  Mass.,  Jan.  7,  1856.  Pupil  of  Otto  Grundmann  and  the 
Museum  of  Fine  Arts  in  Boston,  and  of  Boulanger  and  Lefebvre  in  Paris, 
where  he  remained  ten  years.  Gold  medal,  Amer.  Art  Assoc.,  New  York, 
1886;  hon.  mention,  Paris  Salon,  1887;  $2,000  prize,  Amer.  Art  Assoc.,  1887; 
silver  medal,  Paris  Exp.,  1889;  Palmer  prize,  Art  Inst.,  Chicago,  1890; 
medal,  Charitable  Mechanics  Assoc.,  Boston,  1890;  medal,  Columbian 
Exp.,  Chicago,  1893;  grand  gold  medal,  Atlanta  Exp.,  1895;  bronze  medal, 
Paris  Exp.,  1900;  Lippincott  prize,  Pa.  Acad.  Fine  Arts,  1901;  silver 
medal,  Pan-Amer.  Exp.,  Buffalo,  1901;  second  Corcoran  prize,  Soc.  Wash. 
Artists,  1902;  silver  medal,  St.  Louis  Exp.,  1904;  gold  medal,  Panama- 
Pacific  Intemat.  Exp.,  San  Francisco,  1915.  N.  A.,  1906;  member,  Copley 
Soc.,  Boston.  Specialty,  landscapes.  Mystic,  Conn. 

SUMMER. 

Signed.  On  canvas,  30  H.,  45  W. 

Dearth,  Henry  Golden. 

Bom,  Bristol,  R.  I.,  Apr.  22,  1864.  Pupil  of  Ecole  des  Beaux-Arts  and 
Aime  Morot  in  Paris.  Webb  prize,  Soc.  Amer.  Artists,  1893;  bronze  medal, 
Paris  Exp.,  1900;  silver  medal,  Pan-Amer.  Exp.,  Buffalo,  1901;  silver 
medal,  Charleston  Exp.,  1902.  N.  A.,  1906.  Specialty,  landscapes.  Studio, 
New  York. 

AN  OLD  CHURCH  AT  MONTREUIL. 

Signed.  On  canvas,  36  H.,  47%  W. 

De  Haven,  Frank. 

Bom,  Bluffton,  Ind.,  Dec.  26,  1856.  Pupil  of  George  H.  Smillie  in  New 
York.  Inness  prize,  Salma.  Club,  1899;  Shaw  prize,  Salma.  Club,  1901; 
hon.  mention,  Pan-Amer.  Exp.,  Buffalo,  1901;  silver  medal,  Charleston 
Exp.,  1902;  silver  medal,  St.  Louis  Exp.,  1904.  A.  N.  A.,  1902;  member, 
Nat.  Arts  Club,  N.  Y.  Specialty,  landscapes.  Studio,  New  York. 

CASTLE  CREEK  CANYON,  SOUTH  DAKOTA. 

Signed.  On  canvas,  44  H.,  36  W. 


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THE  NATIONAL  GALLERY  OF  ART 


Deming,  Edwin  Willard. 

Bom,  Ashland,  Ohio,  Aug.  26,  i860.  Pupil,  Art  Students’  League,  N.  Y. ; 
Lefebvre  and  Boulanger,  Paris.  Silver  medal,  Amer.  Art  Soc.  Phila.,  1892; 
hon.  mention,  Pan-Amer.  Exp.,  Buffalo,  1901,  and  Turin,  Italy,  1902; 
bronze  medal,  St.  Louis  Exp.,  1904,  and  Panama-Pacific  Intemat.  Exp., 
San  Francisco,  1915.  Member,  N.  Y.  Arch.  League  and  Mural  Painters. 
Painter,  sculptor,  mural  decorator;  specialty,  Indian  and  animal  subjects. 
Studio,  New  York. 

THE  MOURNING  BRAVE. 

Signed.  On  canvas,  40  H.,  30  W. 

Derrick,  William  Rowell. 

Bom,  San  Francisco,  Cal.  Pupil  of  Bonnat,  Boulanger  and  Lefebvre  in 
Paris.  Member,  Nat.  Arts  Club,  N.  Y.  Painter  and  craftsman.  Studio, 
New  York. 

THE  PLAZA. 

Signed.  On  canvas,  27  H.,  36  W. 

Dessar,  Louis  Paul. 

Bom,  Indianapolis,  Ind.,  Jan.  22,  1867.  Pupil  of  Nat.  Acad.  Design  in 
New  York,  and  of  Bouguereau,  Robert-Fleury,  and  Ecole  des  Beaux-Arts 
in  Paris.  Third  class  medal,  Paris  Salon,  1891;  medal,  Columbian  Exp., 
Chicago,  1893;  hon.  mention,  Carnegie  Institute,  1897;  second  Hallgarten 
prize,  N.  A.  D.,  1899;  first  Hallgarten  prize,  N.  A.  D.,  1900;  bronze  medal, 
Paris  Exp.,  1900;  silver  medals,  Pan-Amer.  Exp.,  Buffalo,  1901,  and 
Charleston  Exp.,  1902.  N.  A.,  1906.  Studio,  New  York. 

RETURN  TO  THE  FOLD. 

Signed.  On  canvas,  15  H.,  18  W. 

THE  WATERING  PLACE. 

Signed  and  dated,  1910.  On  canvas,  35X  H.,  45X  W. 

Dewey,  Charles  Melville. 

Bom,  Lowville,  N.  Y.,  July  16,  1849.  Made  first  exhibit  at  Nat.  Acad. 
Design,  1875.  Pupil  of  Carolus  Duran  in  Paris,  1876-77.  Silver  medals, 
Pan-Amer.  Exp.,  Buffalo,  1901,  and  St.  Louis  Exp.,  1904.  N.  A.,  1907; 
member,  Nat.  Inst.  Arts  and  Letters.  Specialty,  landscapes.  Studio,  New 
York. 

THE  CLOSE  OF  DAY. 

Signed.  On  canvas,  23X  H.,  39  W. 

THE  HARVEST  MOON. 

On  canvas,  24X  H.,  30X  W. 


Signed. 


THE  NATIONAL  GALLERY  OF  ART 


131 


Dewing,  Thomas  Wilmer. 

(Biographical  sketch  on  page  107.) 

SUMMER. 

Signed  and  dated,  1890.  On  canvas,  41  % H.,  53K  W. 

Dougherty,  Paul. 

Born,  Brooklyn,  N.  Y.,  Sept.  6,  1877.  Studied  with  H.  W.  Ranger  and 
in  Europe,  but  mainly  self-taught.  Osborne  prize  ($500),  1905;  second 
prize,  Carnegie  Inst.,  Pittsburgh,  1912;  gold  medal,  Panama- Pacific  Inter- 
nat.  Exp.,  San  Francisco,  1915.  N.  A.,  1907;  member,  Amer.  Water  Color 
Soc.;  Nat.  Inst.  Arts  and  Letters.  Studio,  New  York. 

SUN  AND  STORM. 

Signed.  On  canvas,  36  H.,  48  W. 

Eaton,  Charles  Warren. 

Bom,  Albany,  N.  Y.,  Feb.  22,  1857.  Pupil,  Nat.  Acad.  Design  and  Art 
Students’  League,  N.  Y.  Hon.  mention,  Paris  Exp.,  1900,  and  Pan-Amer. 
Exp.,  Buffalo,  1901;  Proctor  prize,  Salma.  Club,  1901;  silver  medal, 
Charleston  Exp.,  1902;  Inness  prize,  Salma.  C.,  1902;  Shaw  prize,  Salma. 
C.,  1903;  gold  medal,  Art  Club,  Phila.,  1903;  Inness  gold  medal,  N.  A.  D., 
1904;  silver  medal,  St.  Louis  Exp.,  1904;  gold  medal,  Paris  Salon,  1906; 
silver  medal,  Buenos  Aires  Exp.,  1910.  A.  N.  A.,  1901;  member,  Amer. 
Water  Color  Soc. ; N.  Y.  Water  Color  Club.  Specialty,  landscapes.  Studio, 
New  York. 

GATHERING  MISTS. 

Signed.  On  canvas,  36  H.,  45X  W. 

Eaton,  Wyatt. 

Bom,  Philipsburg,  Canada,  May  6,  1849;  died,  Newport,  R.  I.,  June  7, 
1896.  Figure  and  portrait  painter.  Pupil  of  J.  O.  Eaton,  the  National 
Academy  of  Design  and,  later,  of  Ger6me  at  the  Ecole  des  Beaux-Arts. 
He  was  the  first  secretary  of  the  Society  of  American  Artists. 

ARIADNE. 

Signed  and  dated,  1888.  On  canvas,  14  H.,  i8J^  W. 

PORTRAIT  OF  WILLIAM  T.  EVANS. 

On  canvas,  54  H.,  41  % W. 

Fitz,  Benjamin  Rutherford. 

Bom,  New  York,  1855;  died,  Peconic,  Long  Island,  Dec.  27,  1891. 
Studied  at  the  National  Academy  of  Design,  and  at  the  Royal  Academy  of 
Painting,  Munich.  Returning  to  New  York  in  1885,  he  became  a teacher 


132 


THE  NATIONAL  GALLERY  OF  ART 


in  the  Art  Students’  League,  with  which  he  was  connected  until  his  death. 
He  was  a member  of  the  N.  A.  D.,  Soc.  Amer.  Artists,  Amer.  Water  Color 
Soc.,  and  Arch.  League.  His  chief  works  were  portraits  of  prominent 
citizens  of  New  York. 

A POOL  IN  THE  FOREST. 

Signed.  On  canvas,  16  H.,  23%  W. 

Fosdick,  James  William. 

Bom,  Charlestown,  Mass.,  Feb.  13,  1858.  Pupil  of  school  of  Boston 
Museum  of  Fine  Arts,  and  of  Julian  Academy  in  Paris  under  Boulanger, 
Lefebvre  and  Colin.  Grand  gold  medal  for  mural  decoration,  Atlanta 
Exp.,  1895.  Member,  N.  Y.  Arch.  League;  Mural  Painters;  Copley  Soc.; 
Nat.  Soc.  of  Craftsmen,  N.  Y.;  Nat.  Arts  Club,  N.  Y.  Painter,  craftsman, 
writer.  Specialty,  mural  decoration  in  both  paint  and  fire  etching. 
Studio,  New  York. 

ADORATION  OF  SAINT  JOAN  OF  ARC. 

Fire  etching  on  wood. 

Signed  and  marked  copyrighted,  1896. 

Three  panels,  each  109^  H.,  49X  W. 

Foster,  Ben. 

Bom,  North  Anson,  Me.,  July  31,  1852.  Pupil  of  Abbott  H.  Thayer  in 
New  York,  and  of  Morot  and  Merson  in  Paris.  Medal,  Columbian  Exp., 
Chicago,  1893;  second  prize,  Cleveland,  1893;  bronze  medal,  Paris  Exp., 
1900;  silver  medal,  Carnegie  Institute,  1900;  Webb  prize,  Soc.  Amer. 
Artists,  1901;  silver  medal,  Pan-Amer.  Exp.,  Buffalo,  1901,  and  St.  Louis 
Exp.,  1904;  Carnegie  prize,  Nat.  Acad.  Design,  1906;  Inness  gold  medal, 
N.  A.  D.,  1909.  N.  A.,  1904;  member,  Amer.  Water  Color  Soc.;  Nat.  Arts 
Club,  N.  Y. ; Nat.  Inst.  Arts  and  Letters.  Specialty,  landscapes.  Also 
writer  on  art.  Studio,  New  York. 

BIRCH-CLAD  HILLS. 

Signed.  On  canvas,  30  H.,  30  W. 

Fuller,  George. 

Bom,  Deerfield,  Mass.,  1822;  died,  Boston,  Mar.  21,  1884.  Studied  in 
Boston,  New  York,  London,  and  on  the  Continent  of  Europe.  A.  N.  A., 
1857.  Memorial  exhibition  of  his  works  at  Boston  Museum  of  Fine  Arts, 
1884. 

PORTRAIT  OF  HENRY  B.  FULLER,  1873. 

Signed.  On  canvas,  24  H.,  20  W. 

IDEAL  HEAD. 


Signed. 


On  canvas,  22  H.,  18  W. 


WILLIAM  HENRY  HOWE  MY  DAY  AT  HOME 

William  T.  Evans  Collection 


THE  NATIONAL  GALLERY  OF  ART 


133 


Fuller,  Henry  Brown. 

Bom,  Deerfield,  Mass.,  Oct.  3,  1867;  son  of  George  Fuller.  Pupil  of 
Cowles  Art  Seliool,  Boston,  under  Bunker;  of  Cox  and  Mowbray  at  Art 
Students’  League,  N.  Y. ; and  of  Collin  in  Paris.  Bronze  medal,  Pan-Amer. 
Exp.,  Buffalo,  1901;  Carnegie  prize,  Nat.  Acad.  Design,  1908;  silver  medal, 
Panama-Pacific  Intemat.  Exp.,  San  Francisco,  1915.  A.  N.  A.,  1906. 
Specialty,  subject  pictures  and  decorations.  Studio,  Windsor,  Vt. 

ILLUSIONS. 


Signed.  On  canvas,  71  H.,  45  W. 

Gauley,  Robert  David. 

Bom,  Ballybay,  County  Monaghan,  Ireland,  Mar.  12,  1875;  came  to 
United  States  in  1884.  Pupil  of  Denman  W.  Ross  in  Cambridge;  Benson 
and  Tarbell  in  Boston;  Bouguereau  and  Ferrier  in  Paris.  Bronze  medal, 
Paris  Exp.,  1900;  hon.  mention,  Pan-Amer.  Exp.,  Buffalo,  1901;  bronze 
medal,  St.  Louis  Exp.,  1904;  Isidor  portrait  prize,  Salma.  Club,  1907  and 
1912;  Clarke  prize,  Nat.  Acad.  Design,  1908;  silver  medal,  Panama-Pacific 
Intemat.  Exp.,  San  Francisco,  1915.  A.  N.  A.,  1908.  Studio,  New  York. 

THE  FUR  MUFF. 

Signed  and  dated,  1906.  On  canvas,  30^  H.,  25X  W. 

Gay,  Edward. 

Bom,  Dublin,  Ireland,  Apr.  25,  1837.  Pupil  of  J.  M.  Hart  in  Albany, 
N.  Y.,  and  of  J.  Schirmer  and  Lessing  in  Karlsruhe,  Germany.  Prize  of 
$2,000  in  competitive  exhibition,  Amer.  Art  Assoc.,  for  the  landscape 
Broad  Acres,  presented  to  the  Metropolitan  Museum,  1887;  medal,  New 
Orleans  Exp.,  1885;  medal,  Mid-Winter  Exhib.,  San  Francisco;  bronze 
medal,  Pan-Amer.  Exp.,  Buffalo,  1901;  Shaw  Purchase,  Soc.  Amer.  Artists, 
1903;  bronze  medal,  St.  Louis  Exp.,  1904;  George  Inness  gold  medal,  Nat. 
Acad.  Design,  1905.  N.  A.,  1907;  member,  N.  Y.  Water  Color  Club. 
Mount  Vernon,  N.  Y. 

THE  HILLSIDE. 

Signed  and  dated,  1908.  On  canvas,  33  H.,  43  W. 

Genth,  Lillian  Matilde. 

Bom,  Philadelphia,  Pa.,  1876.  Pupil,  Phila.  School  of  Design  for 
Women;  Whistler  in  Paris.  Mary  Smith  prize,  Pa.  Acad.  Fine  Arts,  1904; 
gold  medal,  Amer.  Art  Soc.  Phila.,  1907;  Shaw  memorial,  Nat.  Acad. 
Design,  1908;  bronze  medal,  Buenos  Aires  Exp.,  1910;  first  Hallgarten 
prize,  N.  A.  D.,  1911;  bronze  medal,  Nat.  Arts  Club,  1913.  A.  N.  A.,  1908; 


134 


THE  NATIONAL  GALLERY  OF  ART 


Fellow,  Pa.  Acad.  Fine  Arts;  member,  Nat.  Arts  Club,  N.  Y.;  Union  Inter- 
nationale des  Beaux-Arts  et  des  Lettres;  Royal  Soc.  Arts,  London.  Studio, 
New  York. 

ADAGIO. 

Signed.  On  canvas,  35  H.,  29  W. 

DEPTHS  OF  THE  WOODS. 

Signed.  On  canvas,  35  H.,  29  W. 

Gifford,  R.  Swain. 

Bom,  Island  of  Naushon,  Mass.,  Dec.  23,  1840;  died,  New  York,  Jan.  15, 
1905.  Landscape  painter  and  etcher.  Learned  the  rudiments  of  his  art 
from  Albert  Van  Beest,  a Dutch  marine  painter,  at  New  Bedford,  Mass. 
Moved  to  Boston  in  1864  and  two  years  later  settled  in  New  York.  First 
exhibited  in  1864  at  the  National  Academy  of  Design,  of  which  he  was 
elected  an  Associate  in  1867  and  an  Academician  in  1878.  Traveled  exten- 
sively, painting  in  Oregon  and  California  in  1869,  and  later  in  Europe,  Algiers, 
and  Egypt.  Gold  medal,  Centennial  Exh.,  Philadelphia,  1876;  prize  of 
$2,500  in  New  York  in  1885;  bronze  medal,  Paris  Exp.,  1889;  silver  medal, 
Pan-Amer.  Exp.,  Buffalo,  1901;  gold  medal,  Charleston  Exp.,  1902.  Mr. 
Gifford  was  a member  of  the  Soc.  Amer.  Artists,  Amer.  Water  Color  Soc., 
Nat.  Arts  Club,  Soc.  of  London  Painters,  and  Royal  Society  of  Painters- 
Etchers,  London. 

NEAR  THE  OCEAN. 

Signed  and  dated,  1879.  On  canvas,  22^  H.,  40  W. 

Gifford,  Sanford  Robinson. 

Bom,  Greenfield,  N.  Y.,  July  10,  1823;  died,  New  York,  Aug.  29,  1880. 
Landscape  painter.  Pupil  of  John  R.  Smith  and  the  National  Academy  of 
Design  in  New  York,  in  which  city  he  made  his  home  subsequent  to  1844. 
Also  studied  in  Paris  and  Rome,  and  traveled  in  Italy,  Greece,  Egypt,  and 
the  Rocky  Mountains.  Became  an  Associate  in  1851,  and  an  Academician 
in  1854,  of  the  National  Academy  of  Design. 

THE  VILLA  MALTA. 

Signed  and  dated,  1879.  On  canvas,  13X  H.,  27^4  W. 

Groll,  Albert  Lorey. 

Bom,  New  York,  Dec.  8,  1866.  Pupil  of  Gysis  and  Loefftz  in  Munich. 
Morgan  prize,  Salma.  Club,  1903  ;hon.  mention,  Munich;  Shaw  prize,  Salma. 
Club,  1904;  silver  medal,  St.  Louis  Exp.,  1904;  Sesnan  medal,  Phila.  Acad. 
Fine  Arts,  1906;  medals,  Buenos  Aires  and  Santiago  Exp’s.,  1910;  Inness 
gold  medal,  Nat.  Acad.  Design,  1912 ; silver  medal,  Panama- Pacific  Intemat. 


THE  NATIONAL  GALLERY  OF  ART 


135 


Exp.,  San  Francisco,  1915.  N.  A.,  1910;  member,  Amer.  Water  Color  Soc.; 
N.  Y.  Water  Color  Club.  Specialty,  landscapes.  Studio,  New  York. 

LAGUNA— NEW  MEXICO. 

Signed.  On  canvas,  40  H.,  51  W. 

Gruppe,  Charles  Paul. 

Bom,  Picton,  Canada,  Sept.  3,  i860.  Studied  in  Holland;  chiefly  self- 
taught.  Gold  medals,  Rouen  Exh.  and  Amer.  Art  Soc.,  1902;  two  gold 
medals,  Paris;  silver  medals  for  oils  and  water  color,  St.  Louis  Exp.,  1904; 
bronze  medal,  Appalachian  Exp.,  Knoxville,  1910.  Member,  N.  Y.  Water 
Color  Club;  Amer.  Water  Color  Soc.;  Art  Club  Phila.;  Nat.  Arts  Club; 
Rochester  Art  Club;  Arti,  Amsterdam.  Studio,  New  York. 

THE  MEADOW  BROOK. 

Signed.  On  canvas,  32K  H.,  48  W. 

Hartley,  Jonathan  Scott. 

The  only  piece  of  sculpture  in  the  Evans  collection  was  executed  by  this 
artist,  who  was  bom  at  Albany,  N.  Y.,  Sept.  23, 1845,  and  died  Dec.  6,  1912. 
He  had  studied  in  England,  Paris  and  Rome,  and  received  as  awards  a 
silver  medal  given  by  the  Royal  Academy,  England,  in  1869;  and  a bronze 
medal  at  the  Pan-American  Exposition,  Buffalo,  in  1901.  He  was  a 
member  of  the  National  Academy  of  Design,  the  N.  Y.  Arch.  League,  and 
Nat.  Sculpture  Soc.  His  studio  had  been  in  New  York. 

BUST  OF  WILLIAM  T.  EVANS.  Bronze. 

Height,  25  in.;  base,  10  in.  by  12^  in. 

Hass  am,  Childe. 

(Biographical  sketch  on  page  109.) 

SPRING,  NAVESINK  HIGHLANDS. 

Signed  and  dated,  1908.  On  canvas,  25  H.,  30X  W. 

THE  GEORGIAN  CHAIR. 

Signed  and  dated,  1906.  On  wood  panel,  30%  H.,  25^  W. 

Hill,  Arthur  Turnbull. 

Bom,  New  York,  Apr.  26,  1868.  Pupil  of  Brooklyn  Inst.  Art  School. 
Member,  Artists  Fund  Soc.  and  Salmagundi  Club.  Specialty,  landscapes. 
Studio,  New  York. 

AFTER  A STORM,  AMAGANSETT. 

Signed  and  dated,  1912. 


On  canvas,  30^  H.,  40X  W. 


136 


THE  NATIONAL  GALLERY  OF  ART 


Homer,  Winslow. 

(Biographical  sketch  on  page  109.) 

THE  VISIT  OF  THE  MISTRESS. 

Signed  and  dated,  1876.  On  canvas,  17^  H.,  24  W. 

HIGH  CLIFF,  COAST  OF  MAINE. 

Signed  and  dated,  1894.  On  canvas,  30  H.,  37 % W. 

Howe,  William  Henry. 

Bom,  Ravenna,  Ohio,  1846.  Pupil  of  Otto  de  Thoren  and  F.  de  Vuille- 
froy  in  Paris.  Hon.  mention,  New  Orleans,  1885,  and  Paris  Salon,  1886; 
third  class  medal,  Paris  Salon,  1888;  silver  medal,  Paris  Exp.,  1889;  Tem- 
ple gold  medal,  Pa.  Acad.  Fine  Arts,  1890;  grand  gold  medal,  Crystal  Pal- 
ace, London,  1890;  gold  medal,  Boston,  1890;  medal,  Columbian  Exp., 
Chicago,  1893;  gold  medals,  Cal.  Mid-Winter  Exp.,  1894,  and  Atlanta  Exp., 
1895;  Officier  d’Academie,  Paris,  1896;  Chevalier  of  the  Legion  of  Honor, 
1899;  silver  medal,  Pan-Amer.  Exp.,  1901;  member  of  Jury,  St.  Louis  Exp., 
1904.  N.  A.,  1897;  member,  Nat.  Inst.  Arts  and  Letters.  Specialty, 
landscapes  with  cattle.  Bronxville,  N.  Y. 

MY  DAY  AT  HOME. 

Signed  and  dated,  1906.  On  canvas,  24  H.,  30  W. 

Howland,  Alfred  Cornelius. 

Bom,  Walpole,  N.  H.,  Feb.  12,  1838;  died,  Pasadena,  Cal.,  Mar.  17,  1909. 
Studied  art  in  Boston  and  New  York,  and  was  a pupil  of  the  Royal  Academy 
and  Albert  Flamm  in  Diisseldorf,  and  of  Emile  Lambinet  in  Paris.  He 
became  an  Associate  of  the  National  Academy  of  Design  in  1874  and  an 
Academician  in  1882.  He  was  a regular  exhibitor  in  New  York,  and  his 
works  were  frequently  seen  in  Paris  and  Munich.  His  studio,  during  the 
winter,  was  in  New  York,  while  his  summer  home  was  the  Roof  Tree, 
Williamstown,  Mass. 

FRIENDLY  NEIGHBORS. 

Signed.  On  canvas,  H.,  22^  W. 

Hunt,  William  Morris. 

Bom,  Brattleboro,  Vt.,  1824;  died,  Isles  of  Shoals,  N.  H.,  Sep.  8,  1879. 
Studied  at  Diisseldorf;  pupil  of  Couture  in  Paris;  influenced  by  Millet  and 
the  Barbizon  School.  In  1862  he  settled  in  Boston,  where  he  spent  most 
of  his  life.  He  painted  many  portraits  of  noted  persons,  was  the  author  of 
many  original  sketches  of  types  of  Parisian  life,  and  is  well  known  by  his 
mural  paintings  in  the  State  Capitol  at  Albany,  N.  Y. 

THE  SPOUTING  WHALE. 

On  canvas,  20  H.,  16  W. 


Signed. 


SEPTEMBER  AFTERNOON 
William  T.  Evans  Collection 

(See  page  137) 


itij 


GEORGE  INNESS 


1 


THE  NATIONAL  GALLERY  OF  ART 


137 


Inness,  George. 

Born,  Newburg,  N.  Y.,  May  x,  1825;  died  in  Scotland,  Aug.  3,  1894. 
Studied  art  in  Newark,  N.  J.,  and  engraving  in  New  York.  In  1846  he 
began  the  practice  of  his  profession  as  a landscape  painter,  spending  a few 
months  in  the  studio  of  Regis  Gignoux.  Was  in  Italy  from  1871  to  1875. 
In  his  later  works  he  attained  an  excellence  which  placed  him  in  the  front 
rank  of  the  best  landscape  painters  of  the  world.  N.  A.,  1868. 

SEPTEMBER  AFTERNOON. 

Signed  and  dated,  1887.  On  canvas,  36^  H.,  28^  W. 

NIAGARA. 

Signed  and  dated,  1889.  On  canvas,  30  H.,  45  W. 

GEORGIA  PINES. 

Signed  and  dated,  1890.  On  wood  panel,  18  H.,  24  W. 

SUNDOWN. 

Signed  and  dated,  1894.  On  canvas,  43  H.,  68^2  W. 

Jongers,  Alphonse. 

Bom  in  France,  Nov.  17,  1872.  Pupil  of  Ecole  des  Beaux- Arts  under 
Delaunay  and  Gustave  Moreau;  studied  two  years  in  Spain.  Silver  medal, 
St.  Louis  Exp.,  1904;  third  class  medal,  Paris  Salon,  1909.  A.  N.  A., 
1906.  Specialty,  portraits.  Studio,  New  York. 

PORTRAIT  OF  WILLIAM  T.  EVANS. 

On  canvas,  36  H.,  28  W. 

Kendall,  William  Sergeant. 

Bom,  Spuyten  Duyvil,  N.  Y.,  Jan.  20,  1869.  Pupil  of  Art  Students’ 
League  of  New  York;  Thomas  Eakins  in  Philadelphia;  Ecole  des  Beaux- 
Arts  and  Merson  in  Paris.  Hon.  mention,  Paris  Salon,  1891 ; medal,  Colum- 
bian Exp.,  Chicago,  1893;  Lippincott  prize,  Pa.  Acad.  Fine  Arts,  1894;  hon. 
mention,  Tenn.  Centennial  Exp.,  Nashville,  1897;  second  prize,  Worcester 
Art  Museum,  1900;  bronze  medal,  Paris  Exp.  and  Carnegie  Inst.,  Pitts- 
burgh, 1900;  second  prize,  Worcester  Art  Museum,  1901;  silver  medal  for 
painting,  bronze  medal  for  drawing,  and  hon.  mention  for  sculpture,  Pan- 
Amer.  Exp.,  Buffalo,  1901;  Shaw  prize,  1901,  and  Shaw  Fund  Purchase, 
1903,  Soc.  Amer.  Artists;  gold  medal,  St.  Louis  Exp.,  1904;  Isidor  medal, 
Nat.  Acad.  Design,  1908;  Harris  prize,  1908,  Palmer  gold  medal,  1910, 
Art  Inst.  Chicago;  gold  medal,  Panama-Pacific  Intemat.  Exp.,  San  Fran- 
cisco, 19x5.  N.  A.,  1905;  member,  Nat.  Inst.  Arts  and  Letters.  Painter 
and  sculptor.  Director,  Yale  School  of  the  Fine  Arts. 

AN  INTERLUDE. 

Signed  and  marked  copyrighted,  Feb.,  1907.  On  canvas,  45  H. , 44  W. 


138 


THE  NATIONAL  GALLERY  OF  ART 


I, a Faroe,  John. 

Bom,  New  York,  Mar.  31,  1835;  died,  Providence,  R.  I.,  Nov.  14,  1910. 
Pupil  of  Couture  in  Paris  and  William  M.  Hunt  in  Boston.  Chevalier  of 
the  Legion  of  Honor,  1889;  gold  medal,  Pan-Amer.  Exp.,  Buffalo,  1901; 
diploma  and  medal  of  honor  for  distinguished  service  in  art,  St.  Louis  Exp., 
1904;  medal  of  honor,  Arch.  League,  1909.  Elected  A.  N.  A.  in  1863  and 
N.  A.  in  1869,  he  was  for  many  years  president  of  the  Soc.  Amer.  Artists; 
was  honorary  president  of  the  Nat.  Soc.  Mural  Painters;  honorary  member, 
Amer.  Inst.  Architects;  member,  Nat.  Inst.  Arts  and  Letters,  and  Amer. 
Acad.  Arts  and  Letters.  Making  a specialty  of  mural  decorations  and 
stained  glass,  he  was  also  the  author  of  several  works  on  art. 

VISIT  OF  NICODEMUS  TO  CHRIST. 

On  canvas,  41%  H.,  34  W. 

Lathrop,  William  Langson. 

Bom,  Warren,  111.,  Mar.  29,  1859.  Evans  prize,  Amer.  Water  Color  Soc., 
1896;  gold  medal,  Art  Club  Phila.,  1897;  Webb  prize,  Soc.  Amer.  Artists, 
1899;  bronze  medal,  Pan-Amer.  Exp.,  Buffalo,  1901;  third  medal  ($500), 
Carnegie  Inst.,  Pittsburgh,  1903;  second  prize,  Worcester,  Mass.,  1904; 
bronze  medal,  St.  Louis  Exp.,  1904;  gold  medal  for  oil  and  silver  medal 
for  water  color  painting,  Panama- Pacific  Intemat.  Exp.,  San  Francisco, 
1915.  N.  A.,  1907;  member,  N.  Y.  Water  Color  Club.  New  Hope,  Bucks 
County,  Pa. 

THE  THREE  TREES. 

Signed.  On  canvas,  25^  H.,  32^  W. 

Lawson,  Ernest. 

Bom  in  California,  1873.  Spent  several  years  in  France.  Silver  medal, 
St.  Louis  Exp.,  1904;  Sesnan  medal,  Pa.  Acad.  Fine  Arts,  1907;  gold  medal, 
Amer.  Art  Soc.  Phila.;  first  Hallgarten  prize,  Nat.  Acad.  Design,  1908; 
gold  medal,  Panama- Pacific  Intemat.  Exp.,  San  Francisco,  19x5.  A.  N.  A., 
1908;  member,  Amer.  Painters  and  Sculptors,  N.  Y.  Studio,  New  York. 

AN  ABANDONED  FARM. 

Signed.  On  canvas,  29  H.,  36  W. 

Loeb,  Louis. 

Bom,  Cleveland,  Ohio,  Nov.  7,  1866;  died,  Canterbury,  N.  H.,  July  12, 
1909.  Pupil  of  G£r6me  in  Paris.  He  received  hon.  mention  at  the  Paris 
Salon  of  1895;  a third  class  medal  at  the  Paris  Salon  of  1897;  silver  medals 
for  drawing  and  painting  at  the  Pan-Amer.  Exp.,  Buffalo,  1901;  the  second 
Hallgarten  prize,  Nat.  Acad.  Design,  1902;  the  Webb  prize,  Soc.  Amer. 
Artists,  1903;  silver  medals  for  painting  and  illustration,  St.  Louis  Exp., 


ALPHONSE  JONGERS 


MR.  WILLIAM  T.  EVANS 


William  T.  Evans  Collection 
(See  page  137) 


THE  NATIONAL  GALLERY  OF  ART 


139 


1904;  the  Carnegie  prize,  Soc.  Amer.  Artists,  1905;  the  first  Corcoran  prize, 
Soc.  Wash.  Artists,  1906,  for  The  Siren.  He  was  elected  Academician  of 
the  National  Academy  of  Design  in  1906,  and  was  also  a member  of  the 
New  York  Architectural  League  and  of  the  Society  of  Illustrators.  He 
was  a painter  of  landscapes  and  figures,  illustrator  and  teacher.  His  studio 
was  in  New  York. 

THE  SIREN. 

Signed  and  marked  copyrighted,  1904.  On  canvas,  34  H.,  28  W. 

Low,  Will  Hicok. 

Bom,  Albany,  N.  Y.,  May  31,  1853.  Pupil  of  Ecole  des  Beaux-Arts, 
under  Gdrome,  and  of  Carolus  Duran,  in  Paris.  Silver  medal,  Paris  Exp., 
1889;  medal,  Columbian  Exp.,  Chicago,  1893;  Lotos  Club  P und , Nat. 
Acad.  Design,  1895;  silver  medal,  Pan-Amer.  Exp.,  Buffalo,  1901;  mem- 
ber, Intemat.  Jury  of  Awards,  St.  Louis  Exp.,  1904.  N.  A.,  1890;  mem- 
ber, Mural  Painters;  N.  Y.  Arch.  League;  Nat.  Inst.  Arts  and  Letters. 
Painter,  illustrator,  writer  and  teacher.  Studio,  Bronxville,  N.  Y. 

CHRISTMAS  MORN. 

Signed  and  marked  copyrighted,  1908.  On  canvas,  50  H.,  26  W. 

Lucas,  Albert  Pike. 

Bom,  Jersey  City,  N.  J.  Studied  at  Ecole  des  Beaux-Arts,  Paris,  under 
Hubert  and  Boulanger;  and  pupil  of  Gustave  Courtois  and  Dagnan  Bou- 
veret.  Exhibited  at  Salon,  Paris,  since  1889.  Hon.  mention,  Paris  Exp., 
1900;  bronze  medal,  Pan-Amer.  Exp.,  Buffalo,  1901.  Member,  Soc.  Nat. 
des  Beaux-Arts,  Paris;  Nat.  Arts  Club,  N.  Y.  Painter  and  sculptor. 
Studio,  New  York. 

OCTOBER  BREEZES. 

Signed.  On  canvas,  35X  H.,  46%  W. 

MacChesney,  Clara  Taggart. 

Bom,  Brownsville,  Cal.  Pupil  of  San  Francisco  School  of  Design,  under 
Virgil  Williams;  Gotham  Art  School,  N.  Y.,  under  Mowbray  and  Beck- 
with; Girardot,  Courtois  and  Colarossi  Academy  in  Paris.  Two  medals, 
Columbian  Exp.,  Chicago,  1893;  Dodge  prize,  Nat.  Acad.  Design,  1894; 
gold  medal  for  water  color,  Art  Club,  Phila.,  1900;  second  Hallgarten  prize, 
N.  A.  D.,  1901;  bronze  medal,  Pan-Amer.  Exp.,  Buffalo,  1901,  and  St. 
Louis  Exp.,  1904.  Member,  N.  Y.  Water  Color  Club;  Amer.  Water  Color 
Soc.;  Nat.  Arts  Club;  Assoc.  Women  Painters  and  Sculptors.  Studio, 
New  York. 

A GOOD  STORY. 


Signed  and  dated,  1900. 


On  canvas,  40  H.,  32  W. 


140 


THE  NATIONAL  GALLERY  OF  ART 


Marshall,  William  Edgar. 

Bom,  New  York,  June  30,  1837;  died,  New  York,  Aug.  29,  1906.  Por- 
trait painter  and  engraver.  Employed  by  the  American  Bank  Note  Com- 
pany in  1858.  Subsequently  painted  portraits  in  oil  and  engraved  large 
portraits  in  line.  Settled  in  Boston,  but  in  1864-66  traveled  in  Europe, 
residing  chiefly  in  Paris,  where  he  exhibited  in  the  Salons  of  1865  and  1866. 
Established  a studio  in  New  York  in  1866.  Among  his  more  noteworthy 
achievements  have  been  engravings  after  Stuart’s  Washington  and  Da 
Vinci’s  portrait  of  Christ,  his  heroic  ideal  painting  of  Christ,  which  he  also 
engraved,  and  engravings  of  many  distinguished  persons,  including  Lincoln, 
Longfellow,  Cooper,  Beecher,  Grant,  Sherman,  Blaine,  Hancock,  Garfield, 
Harrison,  McKinley,  and  Roosevelt,  the  most  of  which  were  reproduced 
from  oil  paintings  by  himself. 

PORTRAIT  OF  HENRY  WADSWORTH  LONGFELLOW. 

Signed.  On  canvas,  24X  H.,  20  W. 

PORTRAIT  OF  THE  ARTIST,  AGE  23. 

Signed.  On  canvas,  30  H.,  24^  W. 

Martin,  Homer  D, 

Bom,  Albany,  N.  Y.,  October,  1836;  died,  St.  Paul,  Minn.,  Feb.  12, 1897. 
Landscape  painter.  Self-taught,  except  for  a few  weeks’  study  under 
William  Hart.  N.  A.,  1875.  His  studio  was  in  New  York. 

LOWER  AUSABLE  POND. 

Signed  and  dated,  1868.  On  canvas,  18  H.,  30  W. 

EVENING  ON  THE  SEINE. 

Signed.  On  canvas,  18  H.,  30  W. 

THE  IRON  MINE,  PORT  HENRY,  NEW  YORK. 

On  canvas,  30X  H.,  50  W. 


Metcalf,  Willard  Eergt. 

Bom,  Lowell,  Mass.,  July  1,  1858.  Pupil  of  George  L.  Brown  in  Boston, 
Boulanger  and  Lefebvre  in  Paris.  Hon.  mention,  Paris  Salon,  1888;  medal, 
Columbian  Exp.,  Chicago,  1893;  Webb  prize,  Soc.  Amer.  Artists,  1896; 
hon.  mention,  Paris  Exp.,  1900;  silver  medal,  Pan-Amer.  Exp.,  Buffalo, 
1901,  and  St.  Louis  Exp.,  1904;  Temple  gold  medal,  Pa.  Acad.  Fine  Arts, 
1904;  gold  medal  and  first  prize,  Corcoran  Gallery  of  Art,  Washington, 
1907;  Harris  medal  and  prize,  Art  Inst.  Chicago,  1910;  gold  medal,  Buenos 
Aires  Exp.,  1910;  medal  of  honor,  1911,  and  Sesnan  medal,  1912,  Pa.  Acad. 
Fine  Arts;  medal  of  honor,  Panama-Pacific  Intemat.  Exp.,  San  Francisco, 


WILLIAM  SERGEANT  KENDALL  AN  INTERLUDE 

William  T.  Evans  Collection. 

(See  page  137) 


THE  NATIONAL  GALLERY  OF  ART 


141 


1915.  Member,  Amer.  Water  Color  Soc.;  Nat.  Inst.  Arts  and  Letters; 
Union  Inter,  des  Beaux-Arts  et  des  Lettres.  Landscape  painter,  teacher. 
Studio,  New  York. 

A FAMILY  OF  BIRCHES. 

Signed  and  dated,  1907.  On  canvas,  29  H.,  26  W. 

Millar,  Addison  Thomas. 

Bom,  Warren,  Ohio,  Oct.  4,  i860;  died,  Sept.  8,  1913.  Was  pupil  of 
Chase  in  New  York,  and  of  Benjamin-Constant  and  Boldini  in  Paris;  and 
member  of  the  Salmagundi  Club  and  Silvermine  Group  of  artists.  He  was 
both  painter  and  etcher,  and  examples  of  his  work  are  to  be  found  in  sev- 
eral prominent  museums  and  libraries. 

THE  WATERFALL. 

Signed.  On  canvas,  28  H.,  22  W. 

Minor,  Robert  C. 

Bom,  New  York,  1840;  died,  Waterford,  Conn.,  Aug.  3,  1904.  Pupil  of 
Van  Luppen  in  Antwerp,  and  of  Diaz  and  Boulanger  in  Paris.  Sketched 
in  Germany  and  Italy  for  some  time.  Lotos  Club  Fund  Purchase,  Nat. 
Acad.  Design,  1896;  hon.  mention,  Paris  Exp.,  1900;  silver  medal,  Pan- 
Amer.  Exp.,  Buffalo,  1901.  N.  A.,  1897.  Specialized  in  landscapes. 

A HILLSIDE  PASTURE. 

Signed.  On  canvas,  30X  H.,  22^4  W. 

GREAT  SILAS  AT  NIGHT. 

Signed.  On  academy  board,  15^  H.,  19%  W. 

Moser,  James  Henry. 

Bom,  Whitby,  Ontario,  Canada,  Jan.  1,  1854;  died,  Washington,  D.  C., 
Nov.  10,  1913.  Pupil  of  John  H.  Witt  and  Charles  H.  Davis.  Medal,  At- 
lanta Exp.,  1895;  first  Corcoran  prize,  Wash.  Water  Color  Club,  1900; 
bronze  medal,  Charleston  Exp.,  1902;  Parsons  landscape  prize,  Wash.  Water 
Color  Club,  1903.  This  late  landscape  painter  of  Washington  held  mem- 
bership in  the  Amer.  Water  Color  Soc.;  Soc.  Wash.  Artists;  and  Wash. 
Water  Color  Club. 

EVENING  GLOW,  MOUNT  McINTYRE. 

Signed  and  dated,  1907.  On  canvas,  30  H.,  40  W. 

Mowbray,  Henry  Siddons. 

Bom,  Alexandria,  Egypt,  Aug.  5,  1858,  of  English  parents;  brought  to 
United  States  in  1859.  Pupil  of  Bonnet  in  Paris.  Clarke  prize,  Nat.  Acad. 
Design,  1888;  medals  at  Atlanta,  Boston  and  Chicago;  gold  medal.  Pan- 


142 


THE  NATIONAL  GALLERY  OF  ART 


Amer.  Exp.,  Buffalo,  1901.  N.  A.,  1891;  member,  Amer.  Inst.  Arch.; 
Nat.  Inst.  Arts  and  Betters.  Studio,  Washington,  Conn. 

IDEE  HOURS. 

Signed.  On  canvas,  12  H.,  16  W. 

Murphy,  John  Francis. 

Bom,  Oswego,  N.  Y.,  Dec.  n,  1853.  Self-taught.  First  exhibited  at 
Nat.  Acad.  Design,  1876.  Second  Hallgarten  prize,  N.  A.  D.,  1885;  Webb 
prize,  Soc.  Amer.  Artists,  1887;  gold  medal,  Competition  Prize  Fund  Exh., 
New  York,  1887;  medal,  Columbian  Exp.,  Chicago,  1893;  Evans  prize, 
Amer.  Water  Color  Soc.,  1894;  gold  medal,  Art  Club  Phila.,  1899;  hon.  men- 
tion, Paris  Exp.,  1900;  silver  medal,  Pan-Amer.  Exp.,  Buffalo,  1901;  gold 
medal,  Charleston  Exp.,  1902;  Carnegie  prize,  Soc.  Amer.  Artists,  1902; 
silver  medal,  St.  Eouis  Exp.,  1904;  Inness  gold  medal,  N.  A.  D.,  1910; 
Evans  prize,  Salma.  Club,  1911;  silver  medal,  Panama-Pacific  Intemat. 
Exp.,  San  Francisco,  1915.  N.  A.,  1887;  member,  Amer.  Water  Color 
Soc.  Specialty,  landscapes.  Studio,  New  York. 

THE  PATH  TO  THE  VILLAGE. 

Signed  and  dated,  1882.  On  canvas,  21  H.,  32^  W. 

INDIAN  SUMMER. 

Signed  and  dated,  1903.  On  canvas,  16  H.,  21^  W. 

Naegele,  Charles  Frederick. 

Bom,  Knoxville,  Tenn.,  May  8,  1857.  Pupil  of  William  Sartain,  William 

M.  Chase  and  C.  Myles  Collier.  Gold  medal,  Mechanics  Fair,  Boston, 
1900;  silver  medal,  Charleston  Exp.,  1902.  Member,  Artists’  Fund  Soc.; 
Nat.  Arts  Club,  N.  Y.;  Atlanta  Art  Assoc.  Specialty,  portraits.  Studio, 
New  York. 

MOTHER  LOVE- 

Signed.  On  canvas,  24^  H. , 20%  W. 

Newell,  George  Glenn. 

Bom,  Berdan  County,  Mich.,  1870.  Pupil  of  Nat.  Acad.  Design,  under 
Ward;  Teachers’  College,  N.  Y.,  under  Will  S.  Robinson.  Prize,  $500, 
Salma.  Club,  1906.  Member,  Amer.  Water  Color  Soc.;  Nat.  Arts  Club, 

N.  Y.;  Salma.  Club.  Specialty,  cattle.  Studio,  Dover  Plains,  N.  Y. 

MISTS  OF  THE  MORNING. 


Signed  and  dated,  1910. 


On  canvas,  39  H.,  51  W. 


WILLARD  LEROY  METCALF  A FAMILY  OF  BIRCHES 

William  T.  Evans  Collection 
(See  page  140) 


THE  NATIONAL  GALLERY  OF  ART 


143 


Nichols,  Henry  Hobart. 

Bom,  Washington,  D.  C.,  May  i,  1869.  Pupil  of  Howard  Helmick  and 
Art  Students’  League  in  Washington;  Julian  Academy  and  Castellucho  in 
Paris.  Second  Corcoran  prize,  1901,  Parsons  prize,  1904,  first  Corcoran 
prize,  1906,  Wash.  Water  Color  Club;  Parsons  prize,  Soc.  Wash.  Artists, 
1902.  A.  N.  A.,  1912;  member,  Soc.  Wash.  Artists;  Wash.  Water  Color 
Club;  N.  Y.  Water  Color  Club.  Specialty,  landscapes  and  illustrations. 
Studio,  Bronxville,  N.  Y. 

MOONRISE  AT  OGUNOUIT. 

Signed.  On  canvas,  37X  H.,  36  W. 

Ochtman,  Leonard. 

Bom,  Zonnemaire,  Holland,  Oct.  21, 1854;  settled  at  Albany,  N.  Y.,  1866. 
Self-taught.  Prize,  Brooklyn  Art  Club,  1891;  medal,  Columbian  Exp., 
Chicago,  1893;  gold  medal,  Art  Club,  Phila.,  1894;  silver  medal,  Pan-Amer. 
Exp.,  Buffalo,  1901,  and  Charleston  Exp.,  1902;  Morgan  prize,  Salma. 
Club,  1902;  Shaw  fund  prize,  Soc.  Amer.  Artists,  1902;  Inness  gold  medal, 
Nat.  Acad.  Design,  1903;  Evans  prize,  Salma.  C.,  1903;  Webb  prize,  Soc. 
Amer.  Artists,  1904;  two  gold  medals  (oil  and  water  color),  St.  Louis  Exp., 
1904;  second  Corcoran  prize,  Soc.  Wash.  Artists,  1905;  Rhead  purchase, 
Richmond  (Ind.)  Art  Club,  1905;  Inness  prize,  1906,  Evans  prize,  1907, 
Salma.  C.;  medal  of  second  class,  Knoxville  Exp.,  1911;  silver  medal, 
Panama-Pacific  Intemat.  Exp.,  San  Francisco,  1915.  N.  A.,  1904;  member, 
Amer.  Water  Color  Soc. ; N.  Y.  Water  Color  Club ; Soc.  of  Landscape  Painters; 
Brooklyn  Art  Club;  Nat.  Inst.  Arts  and  Letters.  Specialty,  landscapes. 
Studio,  New  York. 

MORNING  HAZE. 

Signed  and  dated,  1909.  On  canvas,  30  H.,  40  W. 

Ranger,  Henry  Ward. 

Bom  in  western  New  York,  Jan.,  1858.  Mainly  self-taught,  but  studied 
in  France,  England  and  Holland.  Represented  in  several  important 
collections  in  the  United  States  and  Europe.  Bronze  medal,  Paris  Exp., 
1900;  silver  medal,  Pan-Amer.  Exp.,  Buffalo,  1901;  gold  medal.  Charleston 
Exp.,  1902;  gold  medal,  Amer.  Art  Soc.  Phila.,  1907.  N.  A.,  1906;  member, 
Amer.  Water  Color  Soc.;  Nat.  Arts  Club,  N.  Y.  Specialty,  landscapes. 
Studio,  New  York. 

ENTRANCE  TO  THE  HARBOR. 

Signed  and  dated,  1890.  On  canvas,  17F2  H.,  24^  W. 

CONNECTICUT  WOODS. 

Signed  and  dated,  1899. 

21394°— 16 10 


On  canvas,  28  H.,  36  W. 


144 


THE  NATIONAL  GALLERY  OF  ART 


BRADBURY’S  MILL  POND  No.  2. 

Signed  and  dated,  1903.  On  canvas,  28  H.,  36  W. 

THE  CORNFIELD. 

Signed.  On  canvas,  27^  H.,  35%  W. 

GROTON  LONG  POINT  DUNES. 

Signed  and  dated,  1908.  On  canvas,  2%%  H.,  36  W. 

Reid,  Robert. 

Born,  Stockbridge,  Mass.,  July  29,  1862.  Pupil  of  Boston  Museum  of 
Fine  Arts,  Art  Students’  League  of  New  York,  and  Boulanger  and  Lefebvre 
in  Paris.  Medal,  Columbian  Exp.,  Chicago,  1893;  Clarke  prize,  1897, 
first  Hallgarten  prize,  1898,  Nat.  Acad.  Design;  silver  medal  for  painting 
and  gold  medal  for  mural  decoration,  Paris  Exp.,  1900;  silver  medal,  Pan- 
Amer.  Exp.,  Buffalo,  1901,  and  St.  Louis  Exp.,  1904;  third  W.  A.  Clark 
prize  ($1,000),  Corcoran  Art  Gallery,  1909;  gold  medal,  Panama-Pacific 
Intemat.  Exp.,  San  Francisco,  1915.  N.  A.,  1906;  member,  Nat.  Inst. 
Arts  and  Letters.  Painter,  mural  decoration,  teacher.  Studio,  New  York. 

THE  WHITE  PARASOL. 

Signed.  On  canvas,  36  H.,  30  W. 

THE  MIRROR. 

Signed.  On  canvas,  37  H.,  30  W. 

Remington,  Frederic. 

Bom,  Canton,  N.  Y.,  Oct.  4,  1861;  died,  Ridgefield,  Conn.,  Dec.  26, 
1909.  Studied  one  year  at  the  Yale  Art  School,  but  otherwise  was  self- 
taught.  Owing  to  ill  health  he  went  West  and,  after  clerking  in  a general 
store,  became  a cowboy  and  later  stockman  on  a ranch.  It  was  from  the 
knowledge  gained  in  these  connections  and  his  own  experiences  that  sprang 
the  inspiration  for  his  remarkably  vivid  and  faithful  portrayal  of  the  life 
on  the  western  plains  and  in  the  mining  camps,  for  which  he  became  so 
justly  renowned.  His  first  commission,  executed  in  the  early  eighties, 
was  a picture  based  on  Geronimo ’s  campaign.  He  produced  a large  number 
of  oil  paintings  and  about  fifteen  bronzes,  and  was  the  author  of  several 
books.  For  some  years  he  occupied  a large  studio  at  New  Rochelle,  N.Y., 
but  removed  to  Ridgefield  about  six  months  before  his  death.  He  received 
a silver  medal  for  sculpture  at  the  Paris  Exposition  in  1889;  was  an  Associate 
of  the  National  Academy  of  Design  and  a member  of  the  National  Institute 
of  Arts  and  Letters. 

FIRED  ON. 


Signed. 


On  canvas,  27  H.,  40  W. 


JOHN  FRANCIS  MURPHY  THE  PATH  TO  THE  VILLAGE 

William  T.  Evans  Collection 


THE  NATIONAL  GALLERY  OF  ART 


145 


Robinson,  Theodore. 

Bom,  Irasburg,  Vt.,  June  3,  1852;  died,  New  York,  Apr.  1,  1896.  Pupil 
of  L.  E.  Wilmarth  in  New  York,  and  Carolus  Duran  and  Gerfime  in  Paris. 
Awarded  the  Webb  prize,  1890,  and  the  Shaw  prize,  1892,  Soc.  Amer. 
Artists. 

DA  VACHfiRE. 

Signed.  On  canvas,  30  H.,  20  W. 

ODD  CHURCH  AT  GIVERNY. 

Signed  and  dated,  1891.  On  canvas,  18  H.,  22  W. 

Robinson,  William  S. 

Bom,  East  Gloucester,  Mass.,  1861.  Studied  in  Boston,  France  and 
Holland.  Hon.  mention,  Paris  Exp.,  1900,  and  Pan-Amer.  Exp.,  Buffalo, 
1901;  gold  medal,  Amer.  Art  Soc.  Phila.,  1902;  bronze  medal,  St.  Douis 
Exp.,  1904;  Carnegie  prize,  Nat.  Acad.  Design,  1910.  N.  A.,  1911;  member, 
Amer.  Water  Color  Soc. ; N.  Y.  Water  Color  Club;  Boston  Art  Club.  Painter 
and  teacher.  Studio,  New  York. 

MONHEGAN  HEADBANDS. 

Signed  and  dated,  1911.  On  canvas,  30  H.,  40X  W. 

Ryder,  Albert  Pinkham. 

Bom,  New  Bedford,  Mass.,  Mar.  19,  1847.  Pupil  of  Nat.  Acad.  Design, 
under  William  E.  Marshall.  Silver  medal,  Pan-Amer.  Exp.,  Buffalo, 
1901.  N.  A.,  1906;  member,  Nat.  Inst.  Arts  and  Betters.  Studio,  New 
York. 

MOONDIGHT. 

On  wood  panel,  16  H.,  17^  W. 

Sartain,  William. 

Born,  Philadelphia,  Pa.,  Nov.  21,  1843.  Pupil,  Phila.  Acad.  Fin~  Arts; 
of  Bonnat  and  Ecole  des  Beaux-Arts,  Paris;  and  also  studied  in  Italy  and 
Spain.  Silver  medal,  Boston,  1881;  hon.  mention,  Phila.  Acad.  Fine  Arts, 
1887;  bronze  medal,  Pan-Amer.  Exp.,  Buffalo,  1901;  silver  medal,  Charles- 
ton Exp.,  1902,  and  Buenos  Aires  Exp.,  1910.  A.  N.  A.,  1880;  member, 
N.  Y.  Art  Club.  Painter  and  teacher.  Studios,  New  York  and  Paris. 

abgerian  WATER  CARRIER. 

Signed.  On  canvas,  22  H.,  15  W. 

Shirlaw,  Walter. 

Bom  of  American  parents  at  Paisley,  Scotland,  Aug.  6,  1838;  died  at 
Madrid,  Spain,  Dec.  26,  1909.  Brought  to  the  United  States  in  1840,  and 
early  found  employment  as  a bank  note  engraver.  Became  a member  of 
the  Chicago  Academy  of  Design  in  1868,  and  two  years  later  went  to  Munich, 


146 


THE  NATIONAL  GALLERY  OF  ART 


spending  seven  years  in  Europe.  He  made  a specialty  of  genre  pictures, 
but  also  did  much  noteworthy  decorative  and  illustrative  work.  He  was 
one  of  the  founders,  in  1875,  and  the  first  president  of  the  Society  of  Ameri- 
can Artists;  was  elected  a member  of  the  National  Academy  of  Design  in 
1885,  and  also  belonged  to  the  American  Water  Color  Society  and  the 
National  Society  of  Mural  Painters,  as  well  as  to  other  associations  and 
clubs.  He  received  the  following  awards:  Medal,  Munich  Royal  Academy; 
medal,  Centennial  Exh.,  Philadelphia,  1876;  hon.  mention,  Paris  Exp., 
1889;  Lotos  Club  Fund  Purchase,  Nat.  Acad.  Design,  1895;  silver  medal, 
Pan-American  Exp.,  Buffalo,  1901,  and  St.  Louis  Exp.,  1904. 

ROSES. 

Signed.  On  canvas,  24X  H.,  19  W. 

AMONG  THE  OLD  POETS. 

Signed.  On  canvas,  16  H.,  2o}4  W. 

WATER  LILIES. 

Signed.  On  canvas,  20%  H.,  30%  W. 

Shurtleff,  Roswell  Morse. 

Born,  Rindge,  N.  H.,  June  14,  1838;  died,  Jan.  6,  1913.  Studied  at  the 
Lowell  Institute,  Boston,  and  the  National  Academy  of  Design,  New  York. 
He  received  a bronze  medal  at  the  Pan-Amer.  Exp.,  Buffalo,  1901,  and  the 
St.  Louis  Exp.,  1904;  and  the  Evans  prize,  Amer.  Water  Color  Soc.,  1910. 
N.  A.,  1890;  member,  Amer.  Water  Color  Soc.  Specialized  in  landscapes. 

THE  MYSTERIOUS  WOODS. 

Signed.  On  canvas,  30  H.,  40  W. 

SmedlEy,  William  Thomas. 

Bom,  Chester  County,  Pa.,  Mar.  26, 1858.  Pupil  of  Pa.  Acad.  Fine  Arts 
and  of  Jean  Paul  Laurens  in  Paris.  Evans  prize,  Amer.  Water  Color  Soc., 
1890;  bronze  medal,  Paris  Exp.,  1900;  bronze  medal  for  painting  and  silver 
medal  for  drawing,  Pan-Amer.  Exp.,  Buffalo,  1901;  Proctor  prize,  Nat. 
Acad.  Design,  1906;  Carnegie  prize,  N.  A.  D.,  1907.  N.  A.,  1905;  member, 
Amer.  Water  Color  Soc.;  Mural  Painters;  Nat.  Inst.  Arts  and  Letters. 
Painter  of  figures  in  oil,  and  illustrator.  Studio,  New  York. 

ONE  DAY  IN  JUNE. 

Signed.  On  canvas,  23^  H.,  15^  W. 

Thayer,  Abbott  Handerson. 

(Biographical  sketch  on  page  in.) 

DUBLIN  POND,  NEW  HAMPSHIRE. 

On  canvas,  20X  H.,  16  W. 


HENRY  WARD  RANGER  BRADBURY’S  MILL-POND  NO. 

William  T.  Evans  Collection 


THE  NATIONAL  GALLERY  OF  ART 


147 


Tryon,  Dwight  William. 

(Biographical  sketch  on  page  112.) 


NOVEMBER. 

Signed  and  dated,  1904-5.  On  wood  panel,  20  H.,  29^  W. 


Twachtman,  John  Henry. 

(Biographical  sketch  on  page  113.) 


THE  TORRENT. 


Signed. 


On  canvas,  25  H. , 30  W. 


THE  END  OF  WINTER. 


Signed. 


On  canvas,  22  H.,  30  W. 


ROUND  HIDE  ROAD. 


Signed. 


On  canvas,  30  H.,  30  W. 


FISHING  BOATS  AT  GLOUCESTER. 


Signed. 


On  canvas,  25  H.,  30  W. 


Van  Laer,  Alexander  Theobald. 

Born,  Auburn,  N.  Y.,  Feb.  9,  1857.  Pupil  of  the  Nat.  Acad.  Design  and 
R.  Swain  Gifford  in  New  York,  and  of  Geo.  Poggenbeek  in  Holland.  Bronze 
medal,  Charleston  Exp.,  1902;  member,  Internat.  Jury  of  Awards,  and 
gold  medal,  St.  Louis  Exp.,  1904.  N.  A.,  1909;  member,  Amer.  Water 
Color  Soc.;  Nat.  Arts  Club,  N.  Y.  Specialty,  landscapes.  Also  teacher, 
writer  and  lecturer.  Studio,  New  York. 


Vedder,  Elihu. 

Bom,  New  York,  Feb.  26,  1836.  Pupil  of  T.  H.  Mattison  at  Sherburne, 
N.  Y.;  Picot  in  Paris;  and  also  studied  in  Italy.  Hon.  mention,  Paris 
Exp.,  1889;  gold  medal,  Pan-Amer.  Exp.,  Buffalo,  1901.  N.  A.,  1865; 
member,  Mural  Painters;  Nat.  Inst.  Arts  and  Letters.  Painter,  sculptor, 
illustrator  and  writer.  Has  resided  in  Rome  since  1867. 


Signed  and  dated,  1885  and  19x1.  On  canvas,  44J4!  H.,  22%  W. 


EARLY  SPRING. 


Signed. 


On  canvas,  22  H.,  36  W. 


THE  CUP  OF  DEATH. 


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THE  NATIONAL  GALLERY  OF  ART 


Vole,  Douglas. 

Bom,  Pittsfield,  Mass.,  Feb.  23, 1856.  Pupil  of  G6r6me  in  Paris.  Medal, 
Columbian  Fxp.,  Chicago,  1893;  Shaw  Fund  Purchase,  Soc.  Amer.  Artists, 
1899;  first  prize,  Colonial  Exh.,  Boston,  1899;  silver  medal,  Pan-Amer. 
Exp.,  Buffalo,  1901,  and  Charleston  Exp.,  1902;  Carnegie  prize,  S.  A.  A., 
1903,  for  The  Boy  with  the  Arrow;  silver  medal,  St.  Louis  Exp.,  1904;  Proc- 
tor portrait  prize  and  Saltus  gold  medal,  Nat.  Acad.  Design,  1910;  gold 
medal,  Panama-Pacific  Intemat.  Exp.,  San  Francisco,  1915.  N.  A.,  1899; 
member,  Soc.  Amer.  Artists;  Nat.  Arts  Club,  N.  Y.;  Soc.  Inter,  des  Beaux- 
Arts  et  des  Lettres.  Instructor  at  N.  A.  D.  and  Cooper  Union,  New  York. 
Organized  the  handicraft  movement  at  Centre  Lovell,  Me. 

THE  BOY  WITH  THE  ARROW. 

Signed  and  marked  copyrighted,  1903.  On  canvas,  46  H.,  36  W. 

Walker,  Henry  Oliver. 

Bom,  Boston,  Mass.,  May  14,  1843.  Pupil  of  Bonnat  in  Paris.  Medal, 
Columbian  Exp.,  Chicago,  1893;  Shaw  Fund  Purchase,  Soc.  Amer.  Artists, 
1894;  Clarke  prize,  Nat.  Acad.  Design,  1895;  silver  medal,  Pan-Amer. 
Exp.,  Buffalo,  1901;  gold  medal,  Charleston  Exp.,  1902;  silver  medal,  St. 
Louis  Exp.,  1904;  third  prize,  Worcester,  1907.  N.  A.,  1902;  member, 
Mural  Painters;  Nat.  Inst.  Arts  and  Letters.  Specialty,  figures  and  mural 
decoration.  Lakewood,  N.  J. 

EROS  ET  MUSA. 

Signed  and  dated,  1903.  On  canvas,  72  H.,  54  W. 

MUSA  REGINA. 

Signed  and  dated,  1904.  On  canvas,  25X  H.,  29^  W. 

PORTRAIT  OF  MRS.  EVANS  AND  SON. 

Signed  and  dated,  1895.  On  canvas,  36  H.,  29^  W. 

Walker,  Horatio. 

Born,  Listowel,  One. , Canada,  1858.  Gold  medal,  competitive  exhibition 
at  Amer.  Art  Galleries,  N.  Y.,  1887;  Evans  prize,  Amer.  Water  Color  Soc., 
1888;  bronze  medal,  Paris  Exp.,  1889;  gold  medal,  Columbian  Exp.,  Chi- 
cago, 1893,  Pan-American  Exp.,  Buffalo,  1901,  and  Charleston  Exp.,  1902; 
gold  medals  for  oil  and  water  colors,  St.  Louis  Exp.,  1904;  gold  medal  of 
honor.  Pa.  Acad.  Fine  Arts,  1906;  first  prize,  Worcester,  1907;  gold  medal, 
Panama-Pacific  Intemat.  Exp.,  San  Francisco,  1915.  N.  A.,  1891;  mem- 
ber, Amer.  Water  Color  Soc.;  Nat.  Inst.  Arts  and  Letters;  Royal  Inst,  of 
Painters  in  Water  Colors,  England. 

SHEEPYARD— MOONLIGHT. 

Signed  and  dated,  1906.  On  canvas,  17^  H.,  23^  W. 


DOUGLAS  VOLK 


THE  BOY  WITH  THE  ARROW 
William  T.  Evans  Collection 
(See  page  148) 


if  ■ 


THE  NATIONAL  GALLERY  OF  ART 


149 


Ward,  Edgar  Melville. 

Bom,  Urbana,  Ohio,  Feb.  24,  1839.  Pupil  of  Nat.  Acad.  Design  in  New 
York;  Ecole  des  Beaux-Arts  and  Cabanel  in  Paris.  Bronze  medal,  Pan- 
Amer.  Exp.,  Buffalo,  1901.  N.  A.,  1883.  Painter  and  teacher.  Studio, 
New  York. 

THE  BEOCKMAKER. 

Signed.  On  canvas,  25^  H.,  21^  W. 

Waugh,  Frederick  Judd. 

Bom,  Bordentown,  N.  J.,  Sept.  13,  1861.  Pupil,  Pa.  Acad.  Fine  Arts; 
Julian  Academy  in  Paris.  Clarke  prize,  N.  A.  D.,  1910;  silver  medal,  Pan- 
ama-Pacific Intemat.  Exp.,  San  Francisco,  1915.  N.  A.,  1910;  member, 
Art  Club , Phila . ; Nat . Arts  Club , N.  Y.  Marine  painter,  illustrator.  Studio, 
Montclair,  N.  J. 

AFTER  A NORTHEASTER. 

Signed.  On  canvas,  63  H.,  72X  W. 

SOUTHWESTERLY  GALE,  ST.  IVES. 

Signed  and  dated,  1907.  On  canvas,  30  H.,  50^  W. 

THE  KNIGHT  OF  THE  HOLY  GRAIL. 

Signed  and  marked  copyrighted.  On  canvas,  94^2  H.,  125^  W. 

Weir,  Julian  Alden. 

Bom,  West  Point,  N.  Y.,  Aug.  30,  1852.  Pupil  of  his  father,  Robert  W. 
Weir,  and  of  G6r6me  in  Paris.  Hon.  mention,  Paris  Salon,  1882;  prize, 
$2,000,  Amer.  Art  Assoc.,  1888;  silver  medal  for  painting  and  bronze  medal 
for  drawing,  Paris  Exp.,  1889;  medal,  Carnegie  Inst.,  Pittsburgh,  1897;' 
gold  medal,  Columbian  Exp.,  Chicago,  1893;  bronze  medal,  Paris  Exp., 
1900;  gold  medal,  Pan-Amer.  Exp.,  Buffalo,  1901;  gold  medal  for  paintings 
and  silver  medal  for  engravings,  St.  Louis  Exp.,  1904;  Inness  medal,  Nat. 
Acad.  Design,  1906,  for  the  painting  Upland  Pasture ; Lippincott  prize, 
Pa.  Acad.  Fine  Arts,  1910;  member,  Intemat.  Jury  of  Awards,  Panama- 
Pacific  Intemat.  Exp.,  San  Francisco,  1915.  N.  A.,  1880;  a founder  of 
the  Soc.  Amer.  Artists;  member,  Amer.  Water  Color  Soc.;  N.  Y.  Etching 
Club . Specialty,  portraits  and  genre  subjects  in  oil , etchings,  etc . Studio , 
New  York. 

UPLAND  PASTURE. 

Signed.  On  canvas,  39^  H.,  49^  W. 

A GENTLEWOMAN. 

Signed.  On  canvas,  30  H.,  24^  W. 

PORTRAIT  OF  WYATT  EATON. 

On  canvas,  31  H.,  18  W. 


Signed. 


150 


THE  NATIONAL  GALLERY  OF  ART 


Whittredge,  Worthington. 

Bom,  Springfield,  Ohio,  1820;  died,  Summit,  N.  J.,  Feb.  25,  1910. 
Studied  landscape  and  portrait  painting  in  Cincinnati;  going  abroad  in 
1849,  he  continued  his  studies  in  London,  Paris  and  Antwerp,  and  in 
Diisseldorf  under  Andreas  Achenbach.  Subsequently  settled  in  New 
York,  making  a specialty  of  landscapes  and  actively  participating  in  art 
matters.  He  was  elected  an  associate  member  and,  in  1862 , an  Academician 
of  the  National  Academy  of  Design,  of  which  he  was  president  for  the  year 
3:875-76.  He  received  a bronze  medal  at  the  Centennial  Exh.,  Philadel- 
phia, 1876;  hon.  mention  at  the  Paris  Exp.,  1889;  and  silver  medals  at  the 
Pan-Amer.  Exp.,  1901,  and  the  St.  Louis  Exp.,  1904. 

NOON  IN  THE  ORCHARD. 

Signed  and  dated,  1900.  On  canvas,  18X  H.,  30X  W. 

Wiggins,  Carleton. 

Bom,  Turners,  N.  Y.,  Mar.  4,  1848.  Pupil  of  the  Nat.  Acad.  Design  and 
George  Inness  in  New  York.  Studied  in  France,  1880-81.  Exhibited 
first  at  Nat.  Acad.  Design,  1870,  and  at  Paris  Salon,  1881;  gold  medal. 
Prize  Fund  Exhib.,  New  York,  1894;  bronze  medal,  Pan-Amer.  Exp., 
Buffalo,  1901;  member,  Intemat.  Jury  of  Awards,  St.  Louis  Exp.,  1904. 
N.  A.,  1906;  member,  Amer.  Water  Color  Soc.;  Landscape  Painters. 
Specialty,  landscapes  and  animals.  Studio,  New  York. 

EVENING  AFTER  A SHOWER. 

Signed.  On  canvas,  29%  H.,  39^  W. 

THE  PASTURE  LOT. 

Signed  and  dated,  1907.  On  canvas,  29^  H.,  40  W. 

Wiggins,  Guy  C. 

Bom,  Brooklyn,  N.  Y.,  Feb.  23,  1883.  Pupil  of  his  father,  Carleton 
Wiggins,  and  of  Nat.  Acad.  Design.  Member,  Salma.  Club;  Nat.  Arts 
Club,  N.  Y.  Studio,  New  York. 

COLUMBUS  CIRCLE— WINTER. 

Signed  and  dated,  1911.  On  canvas,  34  H.,  40X  W. 

GLOUCESTER  HARBOR. 

Signed.  On  canvas,  40%  H.,  50^  W. 

Wiles,  Irving  Ramsay. 

Bom,  Utica,  N.  Y.,  Apr.  8,  1861.  Pupil  of  his  father,  L.  M.  Wiles, 
William  M.  Chase  and  Carroll  Beckwith  in  New  York;  and  of  Carolus 
Duran  in  Paris.  Exhibited  in  the  Paris  Salon,  1884;  third  Hallgarten 


HENRY  OLIVER  WALKER  EROS  ET  MUSA 

William  T.  Evans  Collection 
(See  page  148) 


THE  NATIONAL  GALLERY  OF  ART 


151 


prize,  1886,  and  Clarke  prize,  1889,  Nat.  Acad.  Design;  kon.  mention, 
Paris  Exp.,  1889;  medal,  Columbian  Exp.,  Chicago,  1893;  Evans  prize, 
Amer.  Water  Color  Soc.,  1897;  medal,  Tenn.  Centennial  Exp.,  Nashville, 
1897;  Shaw  prize,  Soc.  Amer.  Artists,  1900;  bronze  medal,  Paris  Exp., 
1900;  gold  medal,  Pan-Amer.  Exp.,  Buffalo,  1901;  first  Corcoran  prize, 
Soc.  Wash.  Artists,  1901;  gold  medal,  St.  Eouis  Exp.,  1904;  silver  medal, 
Appalachian  Exp.,  Knoxville,  1910;  gold  medal,  Buenos  Aires  Exp.,  1910, 
and  Panama-Pacific  Internat.  Exp.,  San  Francisco,  1915.  N.  A.,  1897; 
member,  Amer.  Water  Color  Soc.;  Portrait  Painters;  Nat.  Inst.  Arts  and 
Betters;  Amer.  Art  Assoc.,  Paris.  Specialty,  portraits  and  figures  in  oil, 
and  illustrator.  Studio,  New  York. 

THE  BROWN  KIMONO. 

Signed  and  marked  copyrighted,  1908. 

On  canvas,  51%  H.,  33^  W. 

RUSSIAN  TEA. 

Signed.  On  canvas,  48  H.,  36^  W. 

Williams,  Frederick  Ballard. 

Born,  Brooklyn,  N.  Y.,  Oct.  21,  1872.  Pupil  of  the  Nat.  Acad.  Design, 
Cooper  Institute  and  N.  Y.  Inst,  of  Artists  and  Artisans.  Bronze  medal, 
Pan-Amer.  Exp.,  Buffalo,  1901;  Inness  prize,  Salma.  C.,  1907;  Isidor 
gold  medal,  N.  A.  D.,  1909.  A.  N.  A.,  1907;  member,  N.  Y.  Water  Color 
Club.  Studio,  New  York. 

A GEADE  BY  THE  SEA. 

Signed  and  dated,  1908.  On  canvas,  30  H,,  45  W. 

CONWAY  HIDES. 

Signed.  On  canvas,  30  H.,  45  W. 

Wyant,  Alexander  H. 

Bom,  Port  Washington,  Ohio,  Jan.  11,  1836;  died,  New  York,  Nov.  29, 
1892.  Landscape  painter.  Devoted  himself  in  early  life  to  painting 
photographs  and  portraits  in  Cincinnati.  At  the  age  of  21  years  visited 
George  Inness,  whose  influence  is  shown  in  many  of  his  most  important 
works.  He  was  later  a pupil  of  Hans  Gude  in  Karlsruhe,  and  a student 
of  the  works  of  Turner  and  Constable  in  London.  Exhibited  first  at  the 
National  Academy  of  Design  in  New  York,  in  1865.  N.  A.  and  one  of  the 
founders  of  the  American  Water  Color  Society.  His  studio  was  in  New 
York. 

AUTUMN  AT  ARKVIELE. 


Signed. 


On  canvas,  20  H,,  28X  W. 


152 


THE  NATIONAL  GALLERY  OF  ART 


THE  FLUME,  OPALESCENT  RIVER,  ADIRONDACKS. 


Signed. 

On  canvas,  47^  H.,  35X  W. 

HOUSATONIC  VALLEY. 

Signed. 

On  canvas,  24  H.,  36  W. 

SPRING. 

Signed. 

On  canvas,  15  H.,  22^  W. 

Yates,  Cullen. 

Bom,  Bryan,  Ohio,  Jan.  24,  1866.  Pupil,  Nat.  Acad.  Design,  Chase 
and  Ochtman  in  New  York;  Ecole  des  Beaux-Arts,  Colarossi  and  Julian 
Academies,  under  Laurens  and  Constant,  in  Paris.  Bronze  medal,  St. 
Louis  Exp.,  1904;  Inness  prize,  Salma.  Club,  1907.  A.  N.  A.,  1908; 
member,  Amer.  Water  Color  Soc.;  N.  Y.  Water  Color  Club;  Nat.  Arts  Club. 
Specialty,  landscapes.  Studio,  New  York. 

ROCK-BOUND  COAST,  CAPE  ANN. 

Signed  and  dated,  1909.  On  canvas,  32  H.,  40  W. 

The  Evans  collection  also  includes  an  excellent  series  of 
proofs  of  American  wood  engravings,  115  in  number,  repre- 
senting the  work  of  Victor  Bernstrom,  William  Baxter  Palmer 
Closson,  Timothy  Cole,  John  P.  Davis,  Frank  French,  T. 
Johnson,  F.  S.  King,  Elbridge  Kingsley,  G.  Kruell,  R.  A. 
Muller,  C.  A.  Powell,  S.  G.  Putnam,  John  Tinkey,  F.  H. 
Wellington,  Henry  Wolf,  and  Fred  Yuengling. 

CONTEMPORARY  FRENCH  ARTISTS 

Catalogue  of  eighty-two  drawings  in  pencil,  pen,  charcoal, 
chalk,  crayon,  water  color,  etc.,  executed  by  eminent  contem- 
porary French  artists  and  presented  to  the  people  of  the  United 
States  by  the  citizens  of  the  French  Republic  as  a token  of  their 
appreciation  of  the  sympathetic  efforts  of  American  citizens 
toward  relieving  the  distress  occasioned  by  the  European  war. 
This  notable  collection,  in  which  all  of  the  pictures  are  inscribed 
and  signed  by  the  artists,  was  received  in  July,  1915,  from  the 
Department  of  State  in  Washington. 

Adler,  Jules. 

Figure  of  an  Old  Man.  Crayon. 


THE  NATIONAL  GALLERY  OF  ART 


153 


Agutte,  Georgette  (Mme.  Marcel  Sembat). 

Ancient  Castle.  Water  color. 

Auburtin,  J. -Francis. 

Children  at  Play.  Water  color. 

Avy,  Joseph-Marius. 

Head  op  a Girl.  Charcoal. 

Bail,  Joseph. 

Lace  Making.  Crayon. 

Baudouin,  Paul-Albert. 

Female  Figure  Dressing  Hair.  Red  chalk. 

Besnard,  Paul-Albert. 

Three  Heads.  Pen. 

Bonnat,  L&on. 

Portrait  of  Ferdinand  de  LEsseps.  Pencil. 

Bouchard,  Louis-Henri. 

Carrying  the  Wounded.  Pencil. 

Bouchor,  Joseph-Felix. 

“Premier  drapeau  pris  A l’ennemi.  Drapeau  du  132®  d’infan- 
TERIE,  Ier  REGIMENT  DE  BASSE- ALSACE,  STRASBOURG.  PRIS  LE  IS 
AoOt,  1914,  A St.  Blaise  par  les  chasseurs  A pied.  ” Water  color. 

Breslau,  Mlle.  Louise-Catherine. 

Schoolgirl.  Charcoal. 

Burnand,  Eugene. 

Old  Woman.  Crayon. 

Calbet,  Antoine. 

Greeting — Two  Female  Figures.  Crayon. 

Carolus  Duran. 

Sketch  of  a Lady.  Pencil. 

Cayron,  Jules. 

Nurse  and  Patient.  Crayon. 

Chabanian,  Arsine. 

Ostend.  Water  color. 


154 


THE  NATIONAL  GALLERY  OF  ART 


Chabas,  Paul-EmilE. 

Young  Girl.  Crayon. 

Charlot,  Louis. 

Le  Creusot.  UsinES  Schneider  (p artie  nord).  Water  color. 

ChEret,  Jules. 

The  Clown.  Crayon. 

Cottet,  Charles. 

French  Peasants.  Crayon. 

Dauchez,  AndrE. 

Landscape.  Pencil. 

DEchenaud,  Adolphe. 

Before  THE  Crucifix.  Crayon. 

DelasallE,  MllE.  Angele. 

Landscape.  Crayon. 

DLsire-Lucas. 

Village  Scene.  India  ink. 

Didier-Pouget,  William. 

Landscape.  Pencil  and  crayon. 

Dupuy,  Paul-M. 

In  the  Trenches,  Winter.  Charcoal  and  chalk. 

Elliot,  Maurice. 

La  ParisiEnnE  En  1906.  Pencil. 

EtchevErry,  Hubert-Denis. 

Homeless  Victim  of  War.  Crayon. 

Flameng,  Francois. 

Saint  Cloud,  4 Juin,  1906.  Water  color. 

Fouqueray,  Charles. 

In  the  Trenches.  Water  color. 

FouriE,  Albert. 

Female  Figure  and  Serpent.  Red  chalk. 

Friant,  Emile. 

Head  of  Young  Girl.  Pencil. 


THE  NATIONAL  GALLERY  OF  ART 


155 


Gervex,  Henri. 

Wounded  Soldier.  Pastel. 

Guignard,  Gaston. 

Landscape.  Monotype. 

Guillemet,  Antoine. 

Landscape.  Pen  with  color. 

Guillonnet,  Oct. 

Offerings  to  the  Goddess  of  Liberty. 

Harpignies,  Henri. 

Landscape.  Charcoal. 

Injalbert,  Antoine. 

Woman’s  Head.  Sepia. 

I will,  Marie -Joseph. 

Venice.  Crayon. 

Jacquier,  Henri. 

Man’s  Head.  Red  chalk. 

Lamy,  P. -Franc. 

Peasant  Girl.  Water  color. 

Laporte-Blairsy,  Lfio. 

Knitting.  Pen. 

Laurens,  J.  P. 

A Soldier.  Charcoal. 

Laurens,  Paul-Albert. 

Mother  and  Child — Burning  Village. 

Laurent,  Ernest. 

Female  Head.  Charcoal. 

Leandre,  Charles. 

Peasant  Woman.  Crayon. 

Lebourg,  Albert. 

Sketch  of  a Village.  Water  color. 

Legrand,  Louis. 

Mother  and  Child.  Charcoal,  tinted. 


Pencil  and  wash. 


Charcoal . 


156 


THE  NATIONAL  GALLERY  OF  ART 


Lep^re,  Louis-Auguste. 

Landscape.  Pen,  sepia. 

LE  Sidaner,  Henri. 

Landscape.  Wax  crayon  and  pen. 

E&vy-Dhurmer,  I/Ucien. 

Medusa  Head.  Pen. 

Ehermitte,  L£on-A. 

Harvest  Rest.  Charcoal. 

Lobre,  Maurice. 

Church  Interior.  Charcoal. 

Luigini,  Ferdinand. 

Landscape.  Sepia. 

Maillaud,  Fernand. 

Mother  and  Child.  Crayon. 

Marqueste,  Laurent-Honore. 

Nude  Figure  with  Mandolin.  Crayon. 

Martin,  Henri. 

Workman  on  Ladder.  Charcoal. 

Maufra,  Maxime. 

Landscape.  Water  color. 

Maxence,  Edgard. 

Primavera.  (Head  of  young  girl.)  Red  chalk. 

Menard,  EmilE-Ren£. 

Classical  Subject.  Red  chalk. 

MerciL,  Antonin. 

Head  op  Young  Lady.  Crayon. 

Metthey,  Andr£. 

Vase  with  Dancing  Figures.  Water  color. 

Paul,  Hermann. 

' ‘ Deuil.  Laisse  moi  pleurer  ; JE  suis  fiSre  quand  m6me.  ’ ’ Water 
color. 


THE  NATIONAL  GALLERY  OF  ART 


157 


PlOT,  REn£. 

“ Heureux  ceux  qui  sont  morts  dans  la  grande  bataille,  couchEs 

DESSUS  LE  SOL  A LA  FACE  DE  DlEU.  HEUREUX  CEUX  QUI  SONT 
MORTS  DANS  UNE  JUSTE  GUERRE.  HEUREUX  LE3  EPIS  MURS  ET  LES 
blEs  moissonnEs.”  Water  color. 

POINTELIN,  AUGUSTE-EMMANUEL. 

Landscape.  Charcoal. 

RaffaElli,  Jean-Fran?ois. 

After  the  Battle.  Crayon. 

Renouard,  Paul. 

Inauguration  de  l’Exposition  Internationale  de  LiEge  En  1905. 
Crayon. 

Rochegrosse,  Georges. 

Mother  and  Child  near  Burning  Village.  Gouache. 

Rodin,  Auguste. 

Figure  Sketch.  Pencil. 

Roll,  Alfred-Philippe. 

Figure  Study.  Pastel. 

Roybet,  Ferdinand. 

The  Drummer.  Pen. 

SabattE,  Fernand. 

Male  Figure.  Crayon. 

SaubEs,  LEon-Daniel. 

Head  of  John  the  Baptist.  Charcoal. 

Schommer,  Francois. 

Seated  Male  Figure.  Charcoal  and  chalk. 

SEGOFPIN,  VlCTOR-JOSEPH. 

Head  of  Man  Expressive  of  Horror.  Charcoal. 

Signac,  Paul. 

Landscape.  Water  color. 

Simon,  Lucien. 

Study  of  Female  Figure.  Pencil. 


158 


THE  NATIONAL  GALLERY  OF  ART 


Tronchet,  Guillaume. 

The  Windmill.  Water  color. 

Truchet,  Abel. 

"Les  Poilus.”  “Quand  je  pense  que  j’aspirais  A la  vie  au 
grand  air!”  Charcoal. 

Waltner,  Charles- Albert. 

Portrait  op  a Lady.  Charcoal. 

Zingg,  JulEs-EmilE. 

Harvest  Scene.  Charcoal. 

Zo,  Henri. 

“ Pour  que  la  liberty  continue  d’Eclairer  le  Monde!  ” Charcoal. 

OTHER  PERMANENT  ACQUISITIONS 

Bartlett,  Paul  Wayland. 

Bom,  New  Haven,  Conn.,  1865.  Pupil  of  Cavelier,  Fremiet  and  Rodin 
in  Paris.  Hon.  mention,  Paris  Salon,  1887;  gold  medal,  Pan-Amer.  Exp., 
BuSalo,  1901;  grand  prize,  St.  Louis  Exp.,  1904;  first  medal,  Liege  Exp., 
1905.  Member,  Intemat.  Jury  of  Awards,  Paris  Exp.,  1889;  represented 
U.  S.  on  Intemat.  Jury  of  Awards  for  sculpture,  Paris  Exp.,  1900;  Intemat. 
Jury  of  Awards,  Panama-Pacific  Intemat.  Exp.,  San  Francisco,  1915.  Che- 
valier of  the  Legion  of  Honor,  1895,  Officer,  1908.  Member,  Nat.  Sculp- 
ture Soc.;  Nat.  Inst,  and  Amer.  Acad.  Arts  and  Letters;  Royal  Acad,  of 
Belgium  (Assoc.);  Institute  of  France  (Cor.).  Sculptor.  Washington, 
D.  C.,  and  Paris,  France. 

STATUE  OF  LAFAYETTE. 

Plaster.  Height,  12  ft.  6X  in.;  base,  2 ft.  by 

5 ft.  11  yi  in. 

Original  model  of  the  bronze  equestrian  statue  erected  in  the 
Square  of  the  Louvre,  Paris,  France,  in  1900,  by  the  school 
children  of  the  United  States.  Gift  of  the  sculptor,  1914. 

BerchEm  (BerghEm),  Nicolaas. 

Bom  at  Haarlem  in  1620;  died  at  Amsterdam  in  1683.  Pupil  of  his 
father,  Pieter  Claasz,  and  of  Jan  van  Goijen,  N.  Moeijaert,  De  Grcbber,  Jan 
Wils  and  Weeninx.  One  of  the  most  celebrated  Dutch  painters  of  his  time, 
excelling  especially  in  landscapes  with  delightful  scenery,  enriched  with 
architectural  ruins  and  decorated  with  charming  groups  of  figures  and 
cattle. 


THE  NATIONAL  GALLERY  OF  ART 


159 


CATTLE  PIECE,  PEASANTS,  ETC. 

On  canvas,  i8>£  H.,  22  W. 

This  picture  was  among  the  effects  of  James  Smithson, 
received  in  connection  with  his  bequest. 

Church,  Frederick  Edwin. 

Bom,  Hartford,  Conn.,  May  4,  1826;  died,  New  York,  Apr.  7,  1900. 
Landscape  painter.  Pupil  of  Thomas  Cole  at  Catskill,  where  he  worked  for 
several  years  before  opening  a studio  in  New  York.  Was  elected  a member 
of  the  National  Academy  of  Design  in  1849.  Traveled  in  South  America 
in  1853  and  1857;  later  visited  Labrador  and  the  West  Indies,  and  in  1868 
made  his  first  trip  through  Europe,  which  also  extended  to  Palestine. 
Received  a second-class  medal  at  the  Paris  Exposition,  1867.  His  best 
known  work  is  The  Falls  of  Niagara,  owned  by  the  Corcoran  Gallery  of  Art. 

AURORA  BOREALIS. 

Signed  and  dated,  1865.  On  canvas,  57  H.,  83^  W. 

Gift  of  Miss  Eleanor  Blodgett,  of  New  York,  1907. 

DuvEnEck,  Frank. 

Bom,  Covington,  Ky.,  1848.  Pupil  of  Diez  and  others  in  Munich,  where 
he  remained  over  ten  years.  Medal,  Columbian  Exp.,  Chicago,  1893;  hon. 
mention,  Paris  Salon,  1895;  silver  medal,  Pan-Amer.  Exp.,  Buffalo,  1901; 
awarded  a special  commemorative  medal  by  the  Panama-Pacific  Intemat. 
Exp.,  San  Francisco,  1915.  N.  A.,  1906;  member,  Soc.  Western  Artists; 
Cincinnati  Art  Club;  Nat.  Inst.  Arts  and  Letters.  Painter,  sculptor, 
etcher,  teacher.  Instructor  in  the  Academy  of  Fine  Arts,  Cincinnati,  Ohio, 
but  has  lived  much  of  the  time  since  1881  in  Florence,  Italy,  painting  and 
teaching. 

PORTRAIT  SKETCH  OF  WALTER  SHIRLAW  AT  THE  AGE  OF  35 

YEARS. 

On  canvas,  24  H.,  18  W. 

Gift  of  Mrs.  Walter  Shirlaw,  1913. 

Earl,  R.  E.  W. 

PORTRAIT  OF  ANDREW  JACKSON  in  the  Uniform  of  a Major 
General,  U.  S.  Army. 

Signed  and  dated,  1836.  On  canvas,  35%'  H.,  27^  W. 

Donated  to  the  National  Institute  in  1844  by  Maj.  William 
H.  Chase,  U.  S.  Engineers,  and  transferred  to  the  Smithsonian 

21394°— 16 11 


160 


THE  NATIONAL  GALLERY  OF  ART 


Institution  in  1862.  The  painting  bears  the  signature  of  the 
artist  as  above  and  the  date.  He  was  probably  Ralph  Earle, 
the  fifth  in  succession  of  that  name,  who  studied  in  London, 
1809-10,  and  after  his  return  to  the  United  States  married  a 
niece  of  Andrew  Jackson.  He  was  for  a time  a member  of  the 
President’s  household  in  Washington,  and  is  recorded  as  hav- 
ing painted  a portrait  of  the  President. 

Elliott,  John. 

Bom  in  England,  Apr.  22,  1858.  Pupil  of  Julian  Academy  and  Carolus 
Duran  in  Paris;  Jos6  di  Villegas  in  Rome.  Subjects  chiefly  portraits  and 
mural  decorations.  Served  with  the  American  Red  Cross  Association  in 
Italy  in  1908-9;  was  architect  of  the  American  village  Messina,  etc.,  and 
received  a silver  medal  and  Order  of  the  Crown  of  Italy;  Comdr.  Royal 
Order  of  Isabella  the  Catholic.  Studio,  "Oak  Glen,”  Newport,  R.  I. 

DIANA  OF  THE  TIDES.  A murai,  decoration. 

On  canvas,  n ft.  H.,  25  ft.  W. 

Gift  of  Mr.  and  Mrs.  Larz  Anderson,  1910. 

Etex,  Antoine. 

Bom  in  Paris  in  1808;  died  in  1888.  He  was  a sculptor,  painter,  archi- 
tect, engraver  and  writer  on  art  subjects,  but  worked  chiefly  as  a sculptor. 

A SCENE  FROM  THE  STORY  OF  THE  “ GENTLEMAN  OF  FRANCE.  ” 
Signed.  On  wood  panel,  6 H.,  n W. 

Gift  of  Mr.  Nathan  Appleton,  of  New  York,  1903. 

Fitzgerald,  Harrington. 

Bom,  Philadelphia,  Pa.,  Apr.  5,  1847.  Pupil  of  Isabey  and  Fortuny  in 
Paris;  George  Nicholson  in  Philadelphia.  Gold  medal,  Amer.  Art  Soc., 
Phila.,  1902;  bronze  medal,  Charleston  Exp.,  1902.  Member,  Amer.  Art 
Soc.  (pres.),  Fairmount  Park  Art  Assoc.,  Sketch  Club,  and  Pen  and  Pen- 
cil Club,  of  Philadelphia;  dir.  School  of  Industrial  Art,  Pa.  Museum. 
Specialty,  landscapes. 

THE  WRECK. 

Signed.  On  wood  panel,  27  H.,  41^  W. 

Gift  of  the  artist,  1913. 

Greenough,  Horatio. 

Bom,  Boston,  Mass.,  Sept.  6,  1805;  died,  Somerville,  Mass.,  Dec.  18, 
1852.  He  displayed  a marked  taste  for  sculpture  as  a youth.  Going  to 
Europe  in  1824,  he  studied  for  some  time  in  Paris  and  Rome,  finally  set- 


THE  NATIONAL  GALLERY  OF  ART 


161 


tling  in  Florence,  where  he  worked  and  lived  for  many  years.  He  returned 
to  America  in  1851.  The  statue  of  Washington  in  the  National  Gallery  of 
Art,  and  the  group  called  “The  Rescue”  in  the  National  Capitol,  are 
among  the  better  known  of  his  works.  Others  that  may  be  mentioned  are 
“Medora,”  “Guardian  Angel  and  Child,”  “Chanting  Cherubs,”  and  busts 
of  Fenimore  Cooper,  Lafayette,  Francis  Alexander  and  John  Quincy 
Adams.  The  “Chanting  Cherubs,”  executed  for  Cooper,  is  said  to  have 
been  the  first  original  piece  of  marble  sculpture  cut  by  an  American. 

STATUS  OF  WASHINGTON. 

Marble.  Height,  11  ft.  4 in.;  base,  5 ft.  6 in.  by  8 ft.  6 in. 

Transferred  to  the  custody  of  the  Smithsonian  Institution 
by  joint  resolution  of  Congress  approved  May  22,  1908. 

Hamdy  Bey,  Osman. 

A Turkish  statesman,  scholar  and  painter,  son  of  Edhem  Pasha,  bom  in 
Constantinople  in  1842  and  deceased  in  1910.  He  was  Governor  of  Bagdad 
in  1868-70,  a delegate  to  the  Vienna  Exposition  in  1873,  General  Secretary 
of  Foreign  Affairs,  and  Governor  of  Pera.  Distinguished  for  his  researches 
in  archeology,  he  was  the  creator  of  the  Imperial  Museum  at  Stambul,  and 
its  director  from  1882.  In  painting  he  gained  reputation  for  his  rendering 
of  oriental  interiors,  and  was  the  founder  of  a Turkish  school  of  the  fine 
arts  which  is  not  limited  in  its  courses  by  the  provisions  of  the  Koran.  He 
edited  with  Reinach  La  necropole  royale  de  Sidon  (1892-93),  and  at  his  own 
expense  erected  a Greek  building  in  Constantinople  for  the  sarcophagi 
from  the  Sidon  Necropolis.  He  exhibited  paintings  at  the  Royal  Academy, 
in  London  and  elsewhere. 

TOMB  OF  “MAHOMET  THE  GENTLEMAN”  AT  BROUSSA. 

Signed  and  dated,  1884.  On  canvas,  20X  H.,  7,7 Pi  W. 

Bequest  of  Mrs.  Elizabeth  C.  Hobson,  of  Washington,  for 
whom  it  was  painted,  1912. 

Hasbrouck,  Du  Bois  Fenelon. 

Bom,  Pine  Hill,  N.  Y.,  i860.  Landscape  painter.  Studio,  Stamford, 
N.  Y. 

AUTUMN  LANDSCAPE. 

Signed  and  dated,  1886.  On  canvas,  23^4  H.,  16  W. 

Presented  by  Mr.  Frederic  Fairchild  Sherman,  of  New  York, 
in  memory  of  his  wife,  Floise  Lee  Sherman,  1913. 


162 


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Healy,  Georgs  Peter  Alexander. 

Bom,  Boston,  Mass.,  July  15,  1808;  died,  Chicago,  111.,  1894.  Portrait 
and  history  painter.  Studied  in  Paris  from  1836;  went  to  Chicago  about 
1838;  revisited  Europe  in  1869  and  resided  long  in  Rome.  His  portrait 
subjects  included  many  distinguished  men. 

PORTRAIT  OF  F.  P.  G.  GUIZOT. 

Full  length;  painted  in  1841.  On  canvas,  94  H.,  68  W. 

PORTRAIT  OF  PRESIDENT  JOHN  TYLER. 

Half  length;  painted  in  1842.  On  canvas,  36X  H.,  29L4  W. 

PORTRAIT  OF  WILLIAM  C.  PRESTON. 

Half  length;  painted  in  1842.  On  canvas,  36%  H.,  29L4  W. 

The  history  of  these  three  portraits  will  be  found  on  pages 
32  to  36  of  this  volume.  The  painting  of  Guizot  was  executed 
on  the  order  of  American  citizens  residing  in  Paris,  and  for- 
warded to  President  Tyler  to  be  hung  in  one  of  the  public 
buildings  in  Washington.  The  museum  of  the  National  Insti- 
tute in  the  Patent  Office  building  was  selected  as  the  place  of 
deposit.  The  portraits  of  President  Tyler  and  Senator  Preston 
were  painted  for  the  Institute,  their  cost  being  met  by  sub- 
scription. All  three  became  the  property  of  the  Government 
and  were  transferred  to  the  Smithsonian  Institution  in  1862. 

PORTRAIT  OF  COL.  ALBERT  G.  BRACKETT,  U.  S.  ARMY. 

Signed  and  dated,  1861.  On  canvas,  36  H.,  29  W. 

Bequest  of  Mrs.  Albert  G.  Brackett,  of  Washington,  1912. 

Helsby,  Alfredo. 

Bom  in  Chile,  of  British  parentage.  Pupil  of  Thomas  Somerscales, 
English  marine  painter,  at  Valparaiso;  influenced  in  his  early  work  by 
the  Chilean  painter  Juan  Francisco  Gonzales,  and  subsequently  by  Alfredo 
Valenzuela  Puelma.  Also  studied  in  Paris.  Exhibited  at  the  Madrid 
Salon  in  1893;  received  a gold  medal  at  Santiago  in  1900;  and  later  was 
represented  at  the  Paris  Salon,  and  at  the  Royal  Academy  and  elsewhere 
in  England.  His  first  exhibitions  in  this  country  were  held  in  New  York 
and  Boston  in  1914,  and  in  Washington  in  1915.  His  subjects  are  chiefly 
Chilean  landscapes. 

FULL  MOON.  A landscape  at  limache,  ch:le. 

Signed.  On  canvas,  35  H.,  25  W. 

Presented  by  the  Embassy  of  Chile  at  Washington,  through 
Senor  Don  Eduardo  Suarez-Mujica,  Ambassador,  1915. 


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163 


Hoxie,  ViNNiR  Ream. 

This  well-known  sculptor  of  Washington,  who  became  the  wife  of  Lieut. 
(Brig.  Gen.)  Richard  Beveridge  Hoxie,  U.  S.  Army,  on  May  28,  1878, 
was  bom  in  Madison,  Wis.,  Sept.  25,  1847,  and  died  in  Washington,  Nov. 
20,  1914.  She  studied  under  Bonnat  in  Paris,  and  with  Majoli  in  Rome. 
Her  statues  of  Abraham  Lincoln,  in  the  rotunda  of  the  Capitol,  and  Admiral 
Farragut,  standing  in  Farragut  Square,  Washington,  were  executed  under 
commissions  from  Congress.  Among  her  other  productions  were  many 
portrait  busts  and  medallions  of  prominent  Americans  and  foreigners, 
and  a number  of  ideal  statues. 

STATUE  OF  THE  GODDESS  SAPPHO,  TYPIFYING  THE  MUSE 

OF  POETRY. 

Marble.  Height,  5 ft.  6 in.;  base,  1 ft.  9 in.  by  1 ft.  uj4  in. 

Modeled  by  Vinnie  Ream  between  1865  and  1870.  Gift 
of  Brig.  Gen.  Richard  L,.  Hoxie,  U.  S.  Army  (retired),  1915. 

Isham,  Samuel. 

Born,  New  York,  May  12,  1855;  died,  Easthampton,  Long  Island,  N.  Y., 
June  12,  1914.  Pupil  of  Julian  Academy,  Paris,  under  Jacquesson  de  la 
Chevreuse,  Boulanger  and  Lefebvre.  He  exhibited  at  Paris  Salons  and 
at  most  of  the  larger  American  exhibitions;  was  a member  of  the  jury  of 
the  Pan-Amer.  Exp.,  Buffalo,  1901,  and  received  a silver  medal  at  the 
St.  Louis  Exp.,  1904.  He  was  an  Associate,  1900,  and  an  Academician, 
1906,  of  the  Nat.  Acad.  Design;  and  held  membership  in  the  N.  Y.  Water 
Color  Club,  N.  Y.  Arch.  League,  and  the  Nat.  Inst.  Arts  and  Letters. 
Both  painter  and  writer,  having  been  the  author  of  “A  History  of  American 
Painting,”  1905. 

WOODED  LANDSCAPE. 

On  canvas,  23^  H.,  29  W. 

Gift  from  the  estate  of  Samuel  Isham,  in  accordance  with 
the  wishes  of  the  artist,  1914. 

Johnson,  Eastman. 

This  genre  and  portrait  painter  was  bom  at  Lovell,  Me.,  July  29,  1824, 
and  died  in  New  York,  Apr.  5,  1906.  He  studied  in  Diisseldorf,  Rome, 
Paris  and  The  Hague,  and  settled  in  New  York  in  i860,  becoming  a member 
of  the  National  Academy  of  Design  the  same  year.  He  received  a bronze 
and  a silver  medal  at  the  Paris  Expositions  of  1889  and  1900,  respectively; 
and  gold  medals  at  the  Pan-Amer.  Exp.,  Buffalo,  1901,  and  the  St.  Louis 
Exp.,  1904. 


164 


THE  NATIONAL  GALLERY  OF  ART 


PORTRAIT  OF  MRS.  CROSS,  OF  MILFORD,  PA. 

Signed.  On  academy  board,  15%  H.,  13  W. 

Gift  of  Mrs.  James  W.  Pinchot,  of  Washington,  1910. 

Kemeys,  Edward. 

Bom,  Savannah,  Ga.,  Jan.  31,  1843;  died,  Washington,  D.  C.,  May  n, 
1907.  A sculptor  of  animal  subjects  chiefly,  he  spent  many  years  in  New 
York  and  also  studied  in  Paris,  but  during  the  latter  part  of  his  life  was  a 
resident  of  Washington . His  most  celebrated  works  are  ‘ ‘ The  Still  Hunt,  ’ ’ 
in  Central  Park,  New  York;  the  “Wolves,”  in  Fairmount  Park,  Philadel- 
phia, and  the  “Lions,”  in  front  of  the  Art  Institute,  Chicago.  He  exhib- 
ited as  early  as  1876  at  Philadelphia,  in  1877  at  London  and  in  1878  at  the 
Paris  Salon.  He  received  a medal  at  the  Columbian  Exposition,  Chicago, 
1893,  and  at  the  St.  Louis  Exposition,  1904. 

THE  STILL  HUNT. 

Plaster.  Height,  2 ft.  6)4  in.;  base,  3 ft.  by  4 ft.  9X  in. 

Model  of  the  crouching  cougar,  being  the  original  of  the 
bronze  cast  in  Central  Park,  New  York  City.  Gift  of  the 
sculptor,  1883. 

Kitson,  Henry  Hudson. 

Bom,  Huddersfield,  England,  Apr.  9,  1855.  Pupil  of  EJcole  des  Beaux- 
Arts  in  Paris  under  Bonnaissieux.  Three  gold  medals,  Mass.  Charitable 
Mechanics’  Assoc.;  gold  medal,  Amer.  Art  Assoc.,  N.  Y.,  1886;  bronze 
medal,  Paris  Exp.,  1889;  decoration,  Royal  Order  of  Bene  Merenti,  from 
the  King  of  Roumania,  1889;  medals,  Columbian  Exp.,  Chicago,  1893,  and 
Paris  Exp.,  1900.  Member,  Nat.  Sculpture  Soc.  and  Nat.  Arts  Club,  N Y.; 
Copley  Soc.,  Bostonian  Soc.  of  Arts  and  Crafts,  and  Boston  Art  Club. 
Sculptor.  Studio,  New  York. 

BUST  OF  VISCOUNT  BRYCE,  O.  M.,  AMBASSADOR  OF  GREAT 
BRITAIN  TO  THE  UNITED  STATES,  1907-1913. 

Bronze.  Height,  2 ft.  3^  in.;  base,  1 ft. 

4)4  un  by  2 ft.  6)4  in. 

Gift  of  the  sculptor,  1914. 

Konti,  Isidore. 

Bom,  Vienna,  Austria,  July  9,  1862.  Pupil  of  Imperial  Academy  in 
Vienna  under  Helmer,  and  of  Kundmann.  Came  to  the  United  States  in 
1890.  Gold  medal,  St.  Louis  Exp.,  1904.  Among  his  works  are  doors  of 


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165 


Grace  Church,  in  New  York,  medals  for  the  Metropolitan  Museum  of  Art, 
and  groups  for  the  Pan-American  building  in  Washington.  N.  A.,  1909; 
member,  Nat.  Sculpture  Soc.;  N.  Y.  Arch.  League;  N.  Y.  Municipal  Art 
Soc.  Sculptor.  Studio,  New  York. 

BEALE  AND  CARSON  HAILING  STOCKTON’S  FLAGSHIP. 

Bronze.  Height,  13  ft.  6>4  in.;  base,  7 ft. 

iX  in.  wide. 

Tablet  commemorating  an  act  of  heroism  by  Acting  Lieu- 
tenant (afterwards  General)  Edward  E.  Beale  and  Kit  Carson 
during  the  War  with  Mexico.  Gift  of  Hon.  Truxton  Beale, 
1910. 

MacGilvary,  Norwood  Hodge. 

Bern,  Bangkok,  Siam,  Nov.  14,  1874.  Pupil  of  Mark  Hopkins  Inst.,  San 
Francisco;  Myron  Barlow  in  England;  Laurens  in  Paris.  Silver  medal, 
Panama-Pacific  Intemat.  Exp.,  San  Francisco,  1915.  Member,  Amer. 
Art  Assoc,  of  Paris.  Studio,  New  York. 

TWILIGHT  AFTER  RAIN. 

Signed.  On  canvas,  32X  H.,  26X  W. 

Presented  by  Mr.  Frederic  Fairchild  Sherman,  of  New  York, 
in  memory  of  his  wife,  Eloise  Lee  Sherman,  1913. 

Michelangelo  (1475-1564). 

HEAD  OF  DAVID.  Plaster  cast  from  the  original. 

Height,  3 ft.  2,lA  in.;  base,  in.  by  1 ft.  1 in. 

Gift  of  Louis  Amateis,  of  Washington,  1912. 

Moreau,  Adrien. 

Bom,  Troyes,  France,  Apr.  18,  1843;  died,  Paris,  1906.  Genre  painter. 
Pupil  of  Pils.  Made  his  first  exhibition  at  the  Paris  Salon  in  1868;  awarded 
second-class  medals  at  the  Salon  of  1876  and  Paris  Exposition  of  1889; 
decoration  of  the  Legion  of  Honor,  1892 ; took  part  with  high  honors  in  the 
Paris  Exposition  of  1900.  Was  the  founder,  in  1878,  of  the  Soci6te  des 
aquarellistes. 

CROSSING  THE  FERRY. 

Signed  and  dated,  1884.  On  canvas,  51  H.,  79^  W. 

Presented  by  Mrs.  James  Lowndes,  in  memory  of  her  father, 
Lucius  Tuckerman,  1908. 


166 


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Mozier,  Joseph. 

Bom  at  Burlington,  Vt.,  Aug.  22,  1812;  died  at  Faids,  Switzerland, 
Oct.,  1870.  Sculptor.  First  entered  mercantile  business  in  New  York, 
but  retired  from  that  in  1845,  in  order  to  devote  himself  to  art.  He  studied 
sculpture  for  several  years  in  Florence,  and  then  went  to  Rome,  where  he 
spent  the  greater  part  of  his  professional  career.  Among  his  best  works 
are  “Esther,”  the  “Wept  of  Wish-ton- Wish, ” “Tacite”  and  “Truth,”  the 
“White  Lady  of  Avenel,”  “The  Peri,”  “Pocahontas,”  the  “Prodigal 
Son,”  and  “Rizpah.” 

IL  PENSEROSO. 

Marble.  Height,  5 ft.  in.;  base,  1 ft.  9 in.  in  diameter. 

Transferred  from  the  Capitol  at  Washington,  1888. 

Nourse,  Elizabeth. 

Bom,  Cincinnati,  Ohio,  i860.  Pupil  of  Art  Academy  in  Cincinnati; 
and  of  Boulanger,  Lefebvre,  Carolus  Duran  and  Henner  in  Paris.  Medal, 
Columbian  Exp.,  Chicago,  1893;  third-class  medal,  Inst,  de  Carthage, 
Tunis,  1897;  first-class  gold  medal,  Nashville  Exp.,  1897;  silver  medals, 
Paris  Exp.,  1900,  and  St.  Louis  Exp.,  1904;  gold  medal,  Panama- Pacific 
Intemat.  Exp.,  San  Francisco,  1915.  Member,  Soc.  Nat.  des  Beaux-Arts, 
Paris;  Paris  American  Women’s  Art  Assoc.;  N.  Y.  Woman’s  Art  Club. 
Studio,  Paris,  France. 

FISHER  GIRL  OF  PICARDY. 

Signed  and  dated,  1889.  On  canvas,  47K  H.,  32  W. 

Presented  by  Mrs.  Elizabeth  C.  Pilling,  of  Washington,  in 
memory  of  her  husband,  John  Walter  Pilling,  1915. 

Nyholm,  Arvid  F. 

Bom,  Stockholm,  Sweden,  1866.  Pupil  of  Royal  Academy,  Stock- 
holm, under  Anders  Zorn.  Studio,  Chicago,  111. 

PORTRAIT  OF  JOHN  ERICSSON. 

Signed  and  dated,  1912.  On  canvas,  48^  H.,  36X  W. 

Gift  of  the  Swedish  American  Republican  League  of  Illinois, 
1912. 

Powell,  Lucien  Whiting. 

Bom  in  Virginia,  Dec.  13,  1846.  Studied  at  the  Pa.  Acad.  Fine  Arts; 
West  London  School  of  Art  and  National  Gallery  (London);  and  in  Rome, 
Venice  and  Paris.  Has  painted  street  scenes  in  Venice,  France  and 


ADRIEN  MOREAU  CROSSING  THE  FERRY 

Gift  of  Mrs.  James  Lowndes 


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167 


England,  and  mountain  views  in  Europe  and  America.  Received  the 
Parsons  prize,  Soc.  Wash.  Artists,  1903.  Is  a member  of  that  society  and 
of  the  Wash.  Water  Color  Club.  Studio,  Washington. 

GRAND  CANYON  OF  THE  YELLOWSTONE  RIVER. 

Signed  and  dated,  1901.  On  canvas,  74X  H.,  116  W. 

Gift  of  Hon.  J.  B.  Henderson,  1907. 

Read,  Thomas  Buchanan. 

Poet  and  painter;  bom  in  Chester  County,  Pa.,  Mar.  12,  1822;  died  in 
New  York,  May  11,  1872.  He  entered  the  studio  of  a sculptor  in  Cincin- 
nati in  1839,  but  painting  soon  proved  more  attractive  to  him.  He  opened 
a studio  in  New  York  in  1841  and  in  Philadelphia  in  1846.  In  1850,  how- 
ever, he  went  to  Europe,  working  and  studying  in  Florence  and  Rome, 
finally  making  the  latter  city  his  home,  with  occasional  visits  to  the  United 
States.  He  painted  both  fancy  pictures  and  portraits,  and  also  executed  a 
few  works  in  sculpture,  as,  for  instance,  a bust  of  General  Sheridan. 

PORTRAIT  OF  HIMSELF. 

On  canvas,  56^  H.,  42^  W. 

Gift  of  Miss  Maria  Fassett  Robinson,  of  Washington,  1907. 

Reuterdahl,  Henry. 

Bom,  Malmo,  Sweden,  Aug.  30,  1871.  Represented  at  the  Naval  Acad- 
emy, Annapolis,  by  ten  paintings  of  the  cruise  of  the  U.  S.  Battleship 
Minnesota  around  South  America,  to  which  he  was  attached ; and  also  in 
other  Government  establishments.  Silver  medal,  Panama- Pacific  Intemat. 
Exp.,  San  Francisco,  1915.  Member,  Amer.  Water  Color  Soc.;  N.  Y.  Arch. 
League.  Specialty,  naval  subjects.  Studio,  New  York. 

THE  COMBAT  BETWEEN  THE  MONITOR  AND  THE  MERRIMAC. 

Signed  and  dated,  1912.  On  canvas,  30  H.,  40  W. 

Gift  of  the  Swedish  American  Republican  League  of  Illinois, 
1912. 

Ribera,  JosL  de  (SpagnolETTo). 

Bom  at  Jativa,  Spain,  Jan.  12,  1588;  died  in  Naples  in  1652.  Valencian 
and  Neapolitan  schools.  Pupil  of  Francisco  Ribalta  and  Caravaggio. 
Poor  when  young,  but  after  settling  in  Naples,  he  married  into  a rich 
family,  was  appointed  court  painter  by  the  Spanish  viceroy,  and  became 
possessed  of  wealth  and  honors.  He  was  made  a member  of  the  Academy 
of  St.  Luke  in  1630,  and  was  knighted  by  Innocent  X in  1644. 


168 


THE  NATIONAL  GALLERY  OF  ART 


JOB  AND  HIS  COMFORTERS. 

On  canvas,  53^  H.,  75  W. 

Received  in  1862  from  the  National  Institute,  to  which  it  was 
presented  by  Dr.  Robert  W.  Gibbes,  of  Columbia,  S.  C.,  in  1841. 

Rimmer,  William. 

Bom  at  Liverpool,  England,  Feb.  20,  1816.  Son  of  a French  refugee,  he 
was  brought  to  Boston  in  1826,  and  died  at  South  Milford,  Mass.,  Aug.  20, 
1879.  Sculptor,  painter  and  art  anatomist.  He  began  the  practice  of 
medicine  in  1855,  painting  portraits  and  religious  pictures  as  occasion 
offered,  but  soon  turned  his  attention  to  sculpture.  Lectured  on  art 
anatomy  at  the  Lowell  Institute,  Boston,  Harvard  University,  the  National 
Academy  of  Design  and  elsewhere;  was  director  of  the  School  of  Design  of 
the  Cooper  Institute  for  some  years,  and  professor  of  anatomy  and  sculpture 
at  the  Boston  Museum  of  Fine  Arts  from  1876.  Among  his  important  works 
of  sculpture  were  the  “Head  of  St.  Stephen,”  “The  Falling  Gladiator,”  a 
statue  of  Alexander  Hamilton,  “Osiris,”  the  “Dying  Centaur”  and  the 
“Fighting  Lions.”  He  was  the  author  of  The  Elements  of  Design  and  Art 
Anatomy. 

THE  FALLING  GLADIATOR. 

Plaster.  Height,  5 ft.  3^  in.;  base,  2 ft.  7H  in.  by  3 ft.  7 in. 

Original  model.  Gift  of  Miss  Caroline  Hunt  Rimmer,  of 
Lexington,  Mass.,  1915. 

Shirlaw,  Walter. 

(Biographical  sketch  on  page  145.) 

BELL  FOUNDRY,  GERMANY.  Study  for  “Toning  of  the  Belt.” 
Signed.  On  binder’s  board,  29  H.,  22%  W. 

STUDY  HEAD— MADAM  CAPRI. 

On  canvas,  17^  H.,  14  W. 
THE  INN,  GERMANY. 

Signed.  On  canvas,  24^  H.,  20  W. 

EASTER  GREETING. 

Signed.  Pastel  on  paper,  52^  H.,  30  W. 

Gift  of  Mrs.  Walter  Shirlaw,  1913. 


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169 


Weyl,  Max. 

Bom,  Miihlen  (on  the  Neckar),  Wurtemberg,  Germany,  Dec.  i,  1837; 
died,  Washington,  D.  C.,  July  6,  1914.  Came  to  the  United  States  in  1853. 
Self-taught  in  art.  Landscape  painter.  Exhibited  at  the  National  Acad- 
emy of  Design,  and  at  the  Prize  Fund  Exhibition  at  the  American  Art 
Galleries  in  1883.  Was  a member  of  the  Society  of  Washington  Artists,  of 
which  he  was  awarded  the  first  prize  in  1891  and  the  Parsons  prize  in  1904. 

INDIAN  SUMMER  DAY. 

On  canvas,  36^  H.,  46  W. 

Presented  by  friends  of  the  artist,  as  announced  in  the  fol- 
lowing communication,  dated  December  1,  1907:  “The  under- 
signed, friends  of  Mr.  Max  Weyl  of  this  city,  wishing  to  honor 
him  and,  at  the  same  time,  commemorate  the  seventieth  anni- 
versary of  his  birth,  take  great  pleasure  in  presenting  to  the 
National  Art  Gallery,  through  you,  one  of  Mr.  Max  Weyl’s  best 
paintings  which  we  are  sure  will  be  of  a lasting  character  and 
prove  his  worth  as  an  artist  and  as  a citizen.  In  taking  this 
course,  we  are  actuated  by  the  highest  patriotic  motives,  and 
trust  that  our  example  will  be  stimulating  to  others  to  do  like- 
wise.” Signed:  Crosby  S.  Noyes,  Emile  Berliner,  Sigmund  and 
Louis  Kann,  Andrew  and  Isadore  Saks,  James  E.  Fitch,  Mrs.  L. 
M.  Edmonds,  A.  J.  Parsons,  William  Hahn,  Carl  Auerbach, 
Victor  Kauffmann,  Samuel  Hart,  M.  D.  Rosenberg,  Alex.  Wolf, 
Joseph  Auerbach,  A.  D.  Prince,  George  W.  Brown,  Sidney 
Reizenstein,  Max  Cohen,  E.  Francis  Riggs,  Henry  Franc,  Giles 
Heilprin,  Abram  Simon,  E.  W.  Safford,  Myer  Cohen,  Simon 
WoE,  Joel  Hillman,  and  Gustave  and  James  Lansburgh. 

Unidentified  Artists. 

PORTRAIT  OF  WASHINGTON. 

On  canvas,  31  H.,  2 5#  W. 

Bust  portrait  belonging  with  the  Lewis  collection  of  Washing- 
ton relics,  purchased  by  the  Government  in  1878.  Received 
from  the  Department  of  the  Interior  in  1910. 

PORTRAIT  OF  ANDREW  JACKSON. 

On  canvas,  30  H.,  25  W. 

Deposited  by  the  Navy  Department,  1907. 


170 


THE  NATIONAL  GALLERY  OF  ART 


LOANS  EXHIBITED  IN  1914-1915 

During  each  succeeding  year  since  1909  there  has  been  an 
increase  in  the  number  of  examples,  chiefly  of  paintings,  ex- 
hibited in  the  Gallery  as  loans.  Generally  received  for  indefi- 
nite periods,  a considerable  proportion  of  those  here  recorded 
have  been  in  the  Gallery  for  some  time.  All  are  paintings  in 
oil  unless  otherwise  specified. 

From  the  National  Association  of  Portrait  Painters 

The  collection  of  twenty-seven  portraits  listed  below  was 
exhibited  from  March  6 to  April  7,  1915,  with  a special  view,  by 
invitation,  on  the  evening  of  the  opening  day.  This  was  the 
second  exhibition  in  the  Gallery  by  the  same  association,  the 
previous  one  having  been  held  the  preceding  year. 

Beaux,  Cecilia. 

PORTRAIT  OF  A.  PIATT  ANDREW. 

Bellows,  George. 

PORTRAIT  OF  WILLARD  STRAIGHT. 

Benson,  Frank  W. 

PORTRAIT  OF  PHILIP  LITTLE. 

Chase,  William  M. 

PORTRAIT  OF  MISS  N. 

PORTRAIT  OF  WILLIAM  GROSVENOR. 

Cotton,  William. 

PORTRAIT  OF  MISS  DOROTHY  GORDON  KING. 

Crawford,  Brenetta  Herrman. 

PORTRAIT  OF  MRS.  RICCARDO  MARTIN. 


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171 


Crawford,  Earl  Stetson. 

PORTRAIT  OF  "PEGGY”  AS  PIERETTE. 
PORTRAIT  OF  MISS  ELEANOR  WOODROFFE- 

Cushing,  Howard  Gardiner. 

PORTRAIT. 

Emmet,  Lydia  Field. 

MARJORIE. 

Gibson,  Charles  Dana. 

PORTRAIT  OF  A GIRL  WITH  GUITAR. 

Hecht,  Victor  D. 

PORTRAIT  OF  MRS.  ISAAC  UNTERMYER. 

Henri,  Robert. 

PORTRAIT. 

Hubbell,  Henry  Salem. 

PORTRAIT. 

Johansen,  John  C. 

PORTRAIT  OF  ALEXANDER  W.  DRAKE. 

Lockman,  De  Witt  M. 

PORTRAIT  OF  MR.  E.  L.  Y. 

PORTRAIT  OF  MISS  D. 

Luks,  George. 


PORTRAIT  OF  MORGAN  ROBERTSON. 


172 


THE  NATIONAL  GALLERY  OF  ART 


MacLaNE,  M.  JEAN. 

PORTRAIT — LllONIE. 

Rand,  Ellen  Emmet. 

PORTRAIT  OF  H.  F.  DU  PONT. 

Roosevelt,  S.  Montgomery. 

PORTRAIT  OF  A LADY. 

THE  RT.  HON.,  THU  EARL  OF  KINTORE,  G.  C.  M.  G. 

SmedlEy,  William  T. 

PORTRAIT  OF  MISS  G. 

Speicher,  Eugene  E. 

PORTRAIT. 

Vonnoh,  Robert. 

PORTRAIT  OF  MRS.  W.  W.  WALKER. 

Wiles,  Irving  R. 

PORTRAIT  OF  MISS  GLADYS  WILES. 

From  The  American  Federation  of  Arts 

The  twenty-three  paintings  by  contemporary  European 
artists  here  enumerated  were  deposited  in  June,  1915,  for  a 
period  of  six  months  or  longer.  They  had  been  shown  at  the 
International  exhibition  held  at  the  Carnegie  Institute  in  Pitts- 
burgh the  year  before,  and  were  subsequently  exhibited  in  ten 
different  cities  in  this  country  under  the  auspices  of  The  Amer- 
ican Federation  of  Arts. 

Adams,  W.  Dacres.  London. 


THE  MONUMENT. 


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173 


Aman-Jean,  Edmond.  Paris. 

PORTRAIT  GROUP  OF  THE  FAMILY  OF  AMAN-JEAN. 

Birch,  S.  J.  Eamorna.  Penzance,  England. 

OCTOBER:  THE  RIVER  COURSE  NEAR  MONTREUIL-SUR- 
MER. 

Blanche,  Jacques  Emile.  Paris. 

ANNIVERSARY. 

Bosznay,  Stephen.  Budapest. 

BY  THE  RIVER. 

Clarenbach,  Max.  Wittlaer  bei  Kaiserswerth,  Germany. 

GARDEN. 

Cottet,  Charles.  Paris. 

PORT  OF  DOUARNENEZ,  BRITTANY. 

Crealock,  John.  London. 

THE  RED  SOFA. 

Dill,  Ludwig.  Karlsruhe. 

EVENING:  JUNIPERS  IN  WINTER. 

East,  Sir  Alfred  (English,  1849-1913). 

THE  RAINBOW. 

Gohler,  Hermann.  Karlsruhe. 

SCHLOSS  MONREPOS. 


Grassel,  Franz.  Munich. 

DUCKS  ON  THE  BANK. 


174 


THE  NATIONAL  GALLERY  OF  ART 


Jamieson,  Alexander.  London. 

SILENCE. 

JUNGHANNS,  JULIUS  PAUL.  DuSSELDORE. 

A MEMORY  OF  THE  TYROL. 

Knight,  Laura.  Penzance,  England. 

THE  GOVERNESS. 

La  Touche,  Gaston  (French,  1854-1913). 

THE  FORD. 

Leader,  B.  Eastlake.  St.  Bury  an.  Cornwall,  England, 
moonlight  after  rain. 

Martin,  Henri  J.  G.  Paris. 

THE  VILLAGE  OF  LABASTIDE. 

Priestman,  Bertram.  London. 

THE  CHALK  QUARRY. 

Prinet,  Rene  Xavier.  Paris. 

THE  AUTHOR. 

SauTER,  George.  London. 

MRS.  PENELOPE  WHEELER. 

Sluiter,  Willy.  Laren,  Holland. 

AUTUMN  DAY. 

Watson,  George  Spencer.  London. 


HILDA  AND  MAGGIE. 


THE  NATIONAL  GALLERY  OF  ART 


175 


From  Mr.  Ralph  Cross  Johnson,  of  Washington 
Callcott,  Sir  Augustus  W. 

ST.  PAUL’S  CHURCH  AND  BLACKFRIARS  BRIDGE,  LONDON. 

Constable,  John. 

DEDHAM  VALE. 

Cox,  David. 

OUTSKIRTS  OF  A WOOD. 

Drost,  N. 

PORTRAIT  OF  A YOUNG  GIRL. 

Funck,  Govaert. 

MADONNA  AND  CHILD. 

Guardi,  Francesco. 

A VIEW  IN  ROME. 

Hogarth,  William. 

PORTRAIT  OF  MRS.  PRICE. 

JORDEANS,  J. 

RUBENS’  WIFE. 

Lawrence,  Sir  Thomas. 

PORTRAIT  OF  MRS.  TOWRY. 

PORTRAIT  OF  SIR  THOMAS  LAWRENCE. 

PORTRAIT  OF  LORD  ABERCORN. 

Maes,  Nicolaes. 

A MAN’S  PORTRAIT. 


21394°— 16 12 


176 


THE  NATIONAL  GALLERY  OF  ART 


Raeburn,  Sir  Henry. 

PORTRAIT  OF  ARCHIBALD  SKIRVING. 

Reynolds,  Sir  Joshua. 

PORTRAIT  OF  THE  DUCHESS  OF  ANCASTER. 
PORTRAIT  OF  VISCOUNT  HILL. 

PORTRAIT  OF  LORD  LIFFORD,  IRISH  CHANCELLOR. 
Roberts,  David. 

KINGS  COLLEGE  CHAPEL,  CAMBRIDGE,  ENGLAND. 
Romney,  George. 

PORTRAIT  OF  SIR  SAMPSON  WRIGHT. 

Stanfield,  William  Clarkson. 

marine. 

Steen,  Jan. 

THE  DOCTOR’S  VISIT. 

Strij,  Jakob  Van. 

EVENING  BY  A RIVER  WITH  HORSEMEN. 

Tiepolo,  J.  B. 

CHRIST  IN  THE  TEMPLE. 

Wilson,  Richard. 

ITALIAN  LANDSCAPE. 

ITALIAN  LANDSCAPE,  EVENING. 

From  Mr.  W.  A.  Slater,  of  Washington 

Corot,  Jean  Baptiste  Camilla. 

A GRAY  DAY. 

NYMPHS  AND  FAUNS. 


THE  NATIONAL  GALLERY  OF  ART 


177 


Daubigny,  Charles  Francois. 

springtime. 

Delacroix,  Eugene. 

RETURN  OF  COLUMBUS  TO  COURT  OF  FERDINAND. 

Diaz,  Narcisse. 

FOREST  OF  FONTAINEBLEAU. 

GROUP  OF  DOGS. 

ISLAND  OF  THE  CUPIDS. 

DuprE,  Jules. 

THE  LANDING. 

THREE  OAKS. 

Gaugencigl,  Ignaz  Marcel. 

THE  QUARTET. 

Hobbema,  Meindert. 

THE  MILL. 

Lebrun,  Madam  Vige;e. 

PORTRAIT  OF  A LADY. 

Mettling,  Louis  Victor  Felix. 

PORTRAIT  OF  A BOY. 

Millet,  Jean  Francois. 

THE  DRINKING  PLACE. 

SEAMSTRESSES  SEWING  ON  SHROUD. 

Monticelli. 


FEMALE  FIGURE. 


178 


THE  NATIONAL  GALLERY  OF  ART 


Pasini,  A. 

AT  THE  BARRACKS,  CONSTANTINOPLE. 

RafpaElli,  Jean-Fran^ois. 

WINTER  LANDSCAPE. 

Rembrandt  van  Rijn. 

THE  RABBI. 

Rousseau,  Theodore. 

SUNSET  IN  A WOOD. 

Ruysdael,  Jacob. 

THE  DUNES  NEAR  HAARLEM. 

Troyon,  Constant. 

HORSES  AT  WATERING  TROUGH. 

Wyant,  Alexander  H. 

LANDSCAPE. 

From  Mrs.  Abercrombie-Miller,  of  New  York 

Hillner. 

ALPINE  LANDSCAPE. 

Verboeckhoven,  EugEne. 

SHEEP. 

From  Mrs.  Dora  B.  Amateis 

Amateis,  Louis. 


PORTRAIT  BUST  OF  THE  ARTIST’S  SON  (Marble). 


THE  NATIONAL  GALLERY  OF  ART 


179 


From  the  Duchess  de  Arcos 

Eighteen  paintings  by  foreign  artists,  only  a part  of  which 
have  been  identified,  and  one  marble,  Bacchante,  by  Bien 
Aime. 

From  Mr.  John  S.  Beck 
Peale,  Charles  Willson  (attributed  to). 

PORTRAIT  OF  GEORGE  WASHINGTON. 

From  Mr.  J.  Carroll  Beckwith,  of  New  York 
Beckwith,  J.  Carroll. 

THE  EMPEROR. 

From  Col.  John  Biddle,  U.  S.  Army 

Sully,  Thomas. 

PORTRAIT  OF  MAJ.  JOHN  BIDDLE,  U.  S.  ARMY. 

From  Miss  Susan  D.  Biddle,  of  Detroit,  Mich. 

Sully,  Thomas. 

PORTRAIT  OF  ELIZA  B RADISH  BIDDLE,  WIFE  OF  MAJ. 
JOHN  BIDDLE,  U.  S.  ARMY. 

From  Dr.  Nathan  Boyd,  of  Washington 

Mazzolini,  G. 

PORTRAIT  OF  BEATRICE  CENCI. 

Titian. 

PORTRAIT  OF  HIS  DAUGHTER  (Copy). 

From  Mr.  Henry  K.  Bush-Brown,  of  Washington 
Bush-Brown,  Henry  K. 

BUST  OF  LINCOLN. 

Plaster  cast  of  the  bronze  bust  of  Lincoln  at  the  National 
Cemetery,  Gettysburg. 


180 


THE  NATIONAL  GALLERY  OF  ART 


From  the  Capitol,  through  Mr.  Elliott  Woods,  Superintendent 

Amateis,  Louis. 

BRONZE  DOORS  FOR  WEST  ENTRANCE  TO  U.  S.  CAPITOL. 
From  Dr.  Thomas  M.  Chatard,  of  Washington. 

Janssens. 

PORTRAIT  OF  HENRIETTA  MARIA. 

Lely,  Sir  Peter. 

PORTRAIT  OF  MRS.  ROUS. 

Sully,  Thomas. 

PORTRAIT  OF  MRS.  NICHOLAS  BOSLEY,  OF  HAYFIELDS, 
MD. 

From  Mr.  William  Baxter  Palmer  Closson,  of  Newton,  Mass. 

Closson,  William  Baxter  Palmer. 

THE  ANGEL. 

From  Mrs.  John  Cropper,  of  Washington 
Gordigiani,  Michele. 

PORTRAIT  OF  MR.  JOHN  CROPPER. 

PORTRAIT  OF  MRS.  JOHN  CROPPER. 

From  Rev.  F.  Ward  Denys,  of  Washington 

Beechey,  Sir  William. 

MRS.  HAWKINS  AND  FAMILY. 

Duveneck,  Frank. 

WATER  CARRIERS— VENICE. 

Perugino. 


MADONNA  AND  CHILD. 


THE  NATIONAL  GALLERY  OF  ART 


181 


Reni,  Guido. 

ST.  MICHAEL. 

Watts,  George  Frederick. 

LADY  AND  TWO  CHILDREN. 

Wilson,  Richard. 

ROME  AND  THE  CAMPAGNA. 

From  Mr.  W.  A.  Dickey,  of  Seattle,  Wash.,  and  others 
Laurence,  Sydney  M. 

THE  TOP  OF  THE  CONTINENT— MT.  McKINLEY,  ALASKA. 
From  Mrs.  Florence  A.  Ebbs,  of  Washington 
Hosmer,  Harriet  (attributed  to). 

CORDELIA  (Marble). 

Romanelli. 

ESMERALDA  (Marble). 

From  Miss  Silvie  de  Grasse  Fowler,  of  Washington 
Healy,  G.  P.  A. 

PORTRAIT  OF  THEODOSIUS  O.  FOWLER. 

LargilliLre,  Nicolas  de. 

PORTRAIT  OF  FRANQOIS  PAUL  DE  GRASSE  DE  ROUVILLE, 
AMIRAL  COMTE  DE  GRASSE. 

West,  Benjamin. 

PORTRAIT  OF  ST.  BERNARD  DOG,  HERO. 

From  Dr.  Anton  Gloetzner,  of  Washington 
Veen,  Otho  van  (attributed  to). 


THE  NATIVITY. 


182 


THE  NATIONAL  GALLERY  OF  ART 


From  Mrs.  Mary  F.  C.  Goldsborough,  of  Washington 
Hobbema  (attributed  to). 

THE  OLD  MILL. 

From  Mr.  William  F.  Halsall,  of  Boston 

Halsall,  William  F. 

OUR  GLORY— BATTLESHIP  OREGON. 

THE  OCEAN  ROVER. 

LIKE  A SHEETED  GHOST. 

From  Mrs.  John  Hay 

Saint-Gaudens,  Augustus. 

STANDING  LINCOLN  (Bronze). 

Reduced  copy  of  the  statue  of  Lincoln  by  Saint-Gaudens  in 
Lincoln  Park,  Chicago,  111. 

From  the  estate  of  E.  E.  Howell 

Moran,  Thomas. 

FROM  HIAWATHA. 

From  Mrs.  Julian-James,  of  Washington 

Weir,  Robert. 

VIEW  UP  THE  HUDSON. 

From  Mrs.  Edward  Kemeys,  of  Washington 

Freer,  Frederick  W. 

PORTRAIT  OF  EDWARD  KEMEYS. 

Jansson,  Alfred. 

A GRAY  DAY  IN  THE  ENVIRONS  OF  CHICAGO. 


THE  NATIONAL  GALLERY  OF  ART 


183 


Kemeys,  Edward. 

Forty-eight  models  of  animals  in  plaster  and  bronze.  Also 
the  following  paintings : 

TIGER  BETWEEN  RUINS  OF  STONE  WALE,  BROWN  LAND- 
SCAPE. 

CATAMOUNT  STANDING  ON  ROCK-SHELF. 

CATAMOUNT  ON  ROCK-SHELF  WITH  WRAITH. 

CATAMOUNT  STANDING  AT  ATTENTION. 

SCOTCH  DEERHOUND. 

YOUNG  HOUNDS. 

BISON  ON  PLAINS,  EXAMINING  SKULL. 

Kemeys,  E.,  Jr. 

HEAD  OF  HOUND. 

McCormick,  Stanley. 

BLACK  PEAK  ON  THE  URRACA  RANCH,  CIMARRON,  N. 
MEX. 

Phillips,  Bert. 

PAINTING  OF  INDIAN  CHIEF,  “ NA-AH-KUH-NA.  ” 
PAINTING  OF  INDIAN  CHIEF,  “TUDL-TUR.” 

REAUGH,  F. 

CATTLE  ON  PLAINS  AT  REST,  BROWN-AND-WHITE  STEER 
IN  FOREGROUND. 

Richardson,  Fred. 

SPRING  LANDSCAPE. 

Saltza,  von. 

PORTRAIT  OF  EDWARD  KEMEYS. 

PORTRAIT  OF  MRS.  EDWARD  KEMEYS. 


184 


THE  NATIONAL  GALLERY  OF  ART 


Shurtleff,  R.  M. 

AUTUMN  WOODLAND  SCENE. 

Sulzer,  Grace. 

PAINTING  OF  INDIAN  GIRL,  “SHA-I-TI-WI.” 

LANDSCAPE,  QUOGUE,  LONG  ISLAND. 

Unsigned. 

HEAD  OF  CATAMOUNT. 

From  Miss  May  S.  Kennedy,  of  Charlestown,  W.  Va. 

Brown,  J.  Henry. 

MINIATURE  OF  HARRIET  LANE  JOHNSTON. 

Rinehart,  William  Henry. 

MARBLE  BUST  OF  HARRIET  LANE  JOHNSTON. 

This  miniature  and  bust  are  deposited  with  the  Harriet  Lane 
Johnston  bequest. 

From  Mrs.  Louise  Catlin  Kinney 

Fisk,  W.  H. 

PORTRAIT  OF  GEORGE  CATLIN. 

From  Mr.  Henry  Hudson  Kitson,  of  New  York 

Kitson,  Henry  Hudson. 

BUST  OF  VITTORIO  EMANUELE  III,  KING  OF  ITALY  (Plaster). 
From  Mrs.  James  Lowndes 

Beyle,  Pierre  Marie. 

FISHING  FOR  EELS. 

Desgoffe,  Blaise  Alexandre. 


STILL  LIFE. 


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185 


Vibert,  Jehan  Georges. 

PREPARING  FOR  THE  MASQUERADE. 

From  Mrs.  Mary  Peoli  Maginn,  of  New  York 
Peoli,  John  J. 

LOVE  CONQUERS. 

CUPID  CAGED. 

From  Mr.  Benson  B.  Moore,  of  Washington 

Fissette,  L. 

INTERIOR. 

NoTERM AN,  Z. 

MIGHT  IS  RIGHT. 

Ostade,  Adrian  von  (attributed  to). 

INTERIOR. 

Rembrandt  (attributed  to) . 

PORTRAIT  OF  REMBRANDT. 

From  Mrs.  Frances  E.  Musgrave,  of  Washington 
Lerius,  J.  Van. 

DEATH  PREFERRED. 

From  Mrs.  James  W.  Pinchot 

Thompson,  Taunt. 

STATUE  OF  NAPOLEON  (Bronze). 

From  Mrs.  J.  W.  Powell,  of  Washington 
Moran,  Thomas. 

IN  THE  GRAND  CANYON  OF  THE  COLORADO. 


186 


THE  NATIONAL  GALLERY  OF  ART 


From  Mrs.  C.  V.  Purdy,  of  Washington 

Cole,  Thomas, 
autumn. 

From  Mrs.  Augustus  Saint-Gaudens,  of  Windsor,  Vt. 

Saint-Gaudens,  Augustus. 

BUST  OF  LINCOLN  (Bronze). 

Replica  of  the  bust  part  of  the  statue  of  Lincoln  by  Saint- 

Gaudens,  in  Lincoln  Park,  Chicago. 

From  Mr.  Watterson  Stealey,  of  Washington 
Gibert,  Jean  Baptiste  Adolphe. 

PORTRAIT  OF  HENRY  CLAY. 

From  Mr.  Theodore  Sutro,  of  New  York 

Moran,  Edward. 

Thirteen  historical  marine  paintings,  as  follows: 

THE  OCEAN— THE  HIGHWAY  OF  ALL  NATIONS. 

LANDING  OF  LEIF  ERICSON  IN  THE  NEW  WORLD.  IN  1001. 

THE  SANTA  MARIA,  NINA,  AND  PINTA,  EVENING  OF  OCTO- 
BER ii,  1492. 

THE  DEBARKATION  OF  COLUMBUS,  MORNING  OF  OCTOBER 
12,  1492. 

MIDNIGHT  MASS  ON  THE  MISSISSIPPI  OVER  THE  BODY  OF 
FERDINAND  DE  SOTO,  1542. 

HENRY  HUDSON  ENTERING  NEW  YORK  BAY,  SEPTEMBER 
11,  1609. 

EMBARKATION  OF  THE  PILGRIMS  FROM  SOUTHAMPTON, 
AUGUST  5,  1620. 

FIRST  RECOGNITION  OF  THE  AMERICAN  FLAG  BY  A FOR- 
EIGN GOVERNMENT— IN  THE  HARBOR  OF  QUIBERON, 
FRANCE,  FEBRUARY  13,  1778. 

BURNING  OF  THE  FRIGATE  PHILADELPHIA— IN  THE  HAR- 
BOR OF  TRIPOLI,  FEBRUARY  16,  1804. 


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187 


THE  BRIG  ARMSTRONG  ENGAGING  THE  BRITISH  FLEET— 
IN  THE  HARBOR  OF  FAYAL,  SEPTEMBER  26,  1814. 

IRON  VERSUS  WOOD— SINKING  OF  THE  CUMBERLAND  BY 
THE  MERRIMAC  IN  HAMPTON  ROADS,  MARCH  8,  1862. 

THE  WHITE  SQUADRON’S  FAREWELL  SALUTE  TO  THE 
BODY  OF  CAPTAIN  JOHN  ERICSSON,  NEW  YORK  BAY, 
AUGUST  25,  1890. 

RETURN  OF  THE  CONQUERORS— TYPIFYING  OUR  VIC- 
TORY IN  THE  LATE  SPANISH-AMERICAN  WAR,  SEPTEM- 
BER 29,  1899. 

From  Mr.  George  Treat,  of  Valdez,  Alaska 

Laurence,  Sydney  M. 

THE  TRAPPER. 

From  Mr.  Julius  A.  Truesdell,  of  Washington 

Truesdell,  Gaylord  Sangston. 

AFTER  THE  RAIN. 

THE  WAYSIDE  SHRINE. 

MOONLIGHT  AT  THE  SHEEP  FOLD. 

COWS  BY  THE  SEA. 

THE  PATH  THROUGH  THE  GORSE- 

SPRING  LANDSCAPE. 

From  Miss  Emily  Tuckerman,  of  Washington 

Zamaqois,  Eduardo. 

REFECTORY. 

From  Mr.  Walter  R.  Tuckerman,  of  Washington 

Stuart,  Gilbert. 

PORTRAIT  OF  JOSEPH  TUCKERMAN,  D.  D. 


188 


THE  NATIONAL  GALLERY  OF  ART 


From  Mrs.  George  W.  Vanderbilt,  of  Washington 
Manet,  Edouard. 

LE  REPOS. 

ROUVIIvRE,  IN  THE  ROLE  OF  HAMLET. 

Zuloaga,  Ignacio. 

ROSITA. 

From  Mrs.  Elizabeth  Walbridge,  of  Washington 

Rosa,  Francesco  di  (called  Pacicco). 

JUDITH  WITH  THE  HEAD  OF  HOLOFERNES. 

From  Mr.  T.  6.  Walker,  of  Minneapolis,  Minn. 

West,  Benjamin. 

THE  RAISING  OF  JAIRUS’  DAUGHTER. 

From  the  Misses  Olivia  and  Ida  Walter,  of  Washington 
Brumidi,  Constantino. 

THE  FIVE  SENSES. 

From  Mrs.  Henry  Wells,  of  Washington 

Murillo  (copied  from). 

THE  BEGGARS. 

From  Hon.  George  Peabody  Wetmore,  of  Newport,  R.  L 

DetaillE,  Edouard. 

MILITARY  REVIEW  (Water  color). 

Wauters,  Constant. 

VERSAILLES. 


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189 


From  Mr.  William  D.  Wheeler,  of  Washington 
Sully,  Thomas. 

PORTRAIT  OF  THE  ARTIST’S  DAUGHTER,  MRS.  JOHN  H. 
WHEEEER,  AND  HER  SONS. 

From  a Friend  of  the  Gallery 

Veronese,  Paul  (attributed  to  the  period  of). 

THE  FINDING  OF  MOSES. 


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